Then she's nabbed by the federal government for insider trading. The film's hook - calling it a 'plot' would be a kindness - is that a certain Michelle Darnell (McCarthy), the 47th-wealthiest woman in America (this says more about me than the movie, but it was that '47th' that made me start to feel good about where things were going: extreme specificity is an underrated source of strength in comedy writing), is an abusive, vulgar tyrant, who treats her long-suffering assistant Claire (Kristen Bell) with extra contempt on top of what she doles out to everyone else. This is obviously a viciously narrow way to praise a film, but comedy is a tricky beast to get a handle on. Or to put it another way, I laughed, and I laughed often enough to conclude that it was a worthwhile comedy, however many borderline-crippling flaws it has here, there, and most places. Melissa McCarthy is actually great in it, however, and that provides enough cover for the film as a whole to achieve some kind of simulation of goodness. That’s what we’re excited about - recalibrating and reminding people what the show is about.”Ĭhicago P.D. “It’s some really bare-knuckled storytelling in terms of cases. They’re a specialized unit that’s called when shit hits the fan somewhere or they can actually intercept something. “This unit is not the homicide investigation unit so it’s not our guys walking up in a suit and tie with a pad and pen saying, ‘Where were you on the night of the fifth?’ It’s Intelligence. will “reset the show” and put the focus back on cases, particularly “tense, adrenalized investigations” the Intelligence Unit is uniquely qualified to handle.

Olmstead says that upcoming episodes of Chicago P.D.

Lindsay and Halstead’s decision to put work before romance comes at just the right time. They’re both there to ascend within Intelligence and there’s a real bond there so we’re going to be showing that more coming up.” I’m not going to ask you any questions in terms of where is this going?’ They’re both completely on the same page. “Their relationship, as they define it mutually, holds true, which is, ‘I don’t want to see anybody else but I am also really into my job. Of course, complications ensue where they’re not able to get some alone time, so to speak, until a certain time but it’s refreshing to see them back into each other,” Olmstead says. “It’s more of a wish fulfillment where they are together and they’re just really into each other. executive producers Derek Haas and Michael Brandt. The episode is written by Chicago Fire co-creators and Chicago P.D. “It’s not a road trip story but it’s a great cop story featuring Halstead and Lindsay and we do address where they’re at,” he says. Olmstead teased an upcoming episode following next month’s crossover with Law & Order: SVU that will see the two hit the road together, and away from the rest of the team, to get a witness. Thankfully, Lindsay won’t have nearly as many issues with partner and boyfriend Halstead (Jesse Lee Soffer).

“Just as much as they’re locked together by this crossover and reminded of this shared loss in his wife and her second mother, invariably you’re going to go back to a difference of opinion over casework because she’s pretty headstrong and he has his own ways,” Olmstead says. However, they won’t remain on solid ground for long. The episode brought Voight and Lindsay (Sophia Bush) closer together as they leaned on each other for support and shared memories of Camille, who became the mother Lindsay had always wanted when Voight took in her as a teenager. “He’s restrained because he wants to do it the right way.” He’s seeking justice for her, but he doesn’t want to do it in a manner that would disappoint her,” he continues. “I told him, ‘In all these scenes, for me, when Voight’s behaving or interacting with people, Camille is in the room,’ and that unlocked it for him.

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