--- title: Good Wife: Julianna Margulies & Archie Panjabi Address Feud description: Margulies says "there's no animosity" on her part, Panjabi suggests otherwise canonical: https://time.com/4061232/good-wife-feud-julianna-margulies-archie-panjabi/ author: Nolan Feeney article:opinion: false article:content_tier: free article:published_time: 2015-10-05T15:11:58.000Z article:modified_time: 2026-05-11T05:01:22.532Z article:section: Entertainment og:title: 'The Good Wife': Julianna Margulies-Archie Panjabi Feud Heats Up og:description: Margulies says "there's no animosity" on her part, Panjabi suggests otherwise og:url: https://time.com/4061232/good-wife-feud-julianna-margulies-archie-panjabi/ og:site_name: TIME og:image: https://static.time.com/v3/assets/bltea6093859af6183b/blta6ac30f80a1669c6/698866d82dce017a669e5dec/margulies-panjabi.jpg?branch=production&width=3840&quality=75&auto=webp&crop=16:9 og:image:width: 1200 og:image:height: 675 og:image:alt: Margulies-Panjabi og:type: article twitter:card: summary_large_image twitter:title: 'The Good Wife': Julianna Margulies-Archie Panjabi Feud Heats Up twitter:description: Margulies says "there's no animosity" on her part, Panjabi suggests otherwise twitter:image: https://static.time.com/v3/assets/bltea6093859af6183b/blta6ac30f80a1669c6/698866d82dce017a669e5dec/margulies-panjabi.jpg?branch=production&width=3840&quality=75&auto=webp&crop=16:9 ---  # _The Good Wife_: The Julianna Margulies-Archie Panjabi Feud Is Heating Up > Sponsored content. 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Terms and conditions apply. * Savings buckets are a feature of Ally Bank's Savings Account. * No ATM fees from Ally Bank at Allpoint and Moneypass ATMs plus we reimburse for fees charged by other ATM owners nationwide up to $10 per statement cycle. * Early direct deposit offers eligible direct deposits up to two days sooner. * Spending buckets are a feature of Ally Bank's Spending Account. ## Video: 5 Reasons TV's Top Shows Are So Addictive [Watch (HLS stream): 5 Reasons TV's Top Shows Are So Addictive](https://cdn.jwplayer.com/manifests/2RqNgPrk.m3u8) (2:16)  _Published 2014-01-16. Here's a look at how our favorite TV shows—from "Game of Thrones" to "Scandal" and "Breaking Bad"—keep us coming back for more._  by [Nolan Feeney](https://time.com/author/nolan-feeney/)  ## Nolan Feeney Oct 5, 2015 3:11 PM UTC  Actress Archie Panjabi and Julianna Margulies. Actress Archie Panjabi and Julianna Margulies.Carlo Allegri—Reuters; D Dipasupi—Getty Images  by [Nolan Feeney](https://time.com/author/nolan-feeney/)  ## Nolan Feeney Oct 5, 2015 3:11 PM UTC Fans of _The Good Wife_ have long speculated about an alleged feud between Julianna Margulies, who plays the titular attorney Alicia Florrick, and her co-star Archie Panjabi, who played enigmatic investigator Kalinda Sharma and left the show earlier this year after six seasons. Now, after Margulies addressed the rumors, Panjabi is adding fuel to the fire. Fans’ evidence for this feud focused on the fact that the two actresses hadn’t shared a scene together in about two years. Their _characters_ did have a falling out on the show, after Alicia learned that Kalinda had slept with her husband years earlier but speculation escalated after last season’s finale, in which the two [filmed their final scene “together” separately](http://www.ew.com/article/2015/05/15/did-good-wife-fake-final-scene-between-alicia-and-kalinda). During an interview at the New Yorker Festival, Margulies insisted there was nothing to the rumors, [via Vulture](http://www.vulture.com/2015/10/julianna-margulies-archie-panjabi-feud.html#): --- > “” --- As for shooting their finale scene separately, Margulies said that it was “shot the way Robert wanted to shoot it” and suggested that Panjabi’s commitments to _The Fall_ factored into the scheduling. But Panjabi is calling B.S. on Margulies’ explanation. On Monday she tweeted a link to an article with Margulies’ explanation and said _The Fall_ “was not even in production at that time and I was in New York ready to film the scene!” > [](https://twitter.com/panjabiarchie/status/651035191985631233) ### La Vie En Rose, 2007  Picturehouse Cotillard, a relative unknown, beat nominees including Cate Blanchett and Julie Christie at the Oscars, making her only the second woman to win Best Actress for a foreign-language role. (The first? Sophia Loren.) The notion of an actor getting the gold for playing an iconic musician—in this case, Edith Piaf—is hardly novel; Reese Witherspoon and Jamie Foxx had already done so. But Cotillard’s commitment to the role was unique. She shaved her eyebrows and hairline for the role, later telling TIME: “_I looked terrible, so my hat collection increased dramatically._” ### Nine, 2009  Weinstein Company One of Cotillard’s first post-Oscar movies put her onscreen with several far more seasoned performers, including Nicole Kidman, Judi Dench, Sophia Loren, and Penélope Cruz. All were playing women in the life of Daniel Day-Lewis’s tormented film director, and each made a valiant attempt, in her respective moment in the film’s spotlight, to steal the movie away from her co-stars. For all the movie’s campy theatricality, Cotillard ended up walking away with the film with “Take It All,” a simple, heartbreaking ballad about her broken marriage; the song was nominated for an Oscar, and Cotillard got her second of three Golden Globe nominations. ### Inception, 2010  Warner Bros. It was a surprise to see a rising star of highbrow cinema in a splashy summer blockbuster, and more surprising still to see just what Cotillard did with her tormented-diva role. As Mal, Cotillard was a mere projection of Leonardo DiCaprio’s memories. She also was alternately dangerous enough to represent the movie’s most substantial threat and seductive enough to keep audiences wanting more of her despite it all. ### Contagion, 2011  MARION COTILLARD (left) as Dr. Leonora Orantes and CHIN HAN (right) as Sun Feng in the thriller “CONTAGION,” a Warner Bros. Pictures release. Warner Bros. Another blockbuster, this one far-removed from the realm of fantasy. _Contagion_ forced Cotillard to tamp down the more passionate and emotional aspects of her acting; playing a WHO doctor held hostage by a village desperate for a much-needed vaccine, Cotillard was tightly controlled. ### The Dark Knight Rises, 2012  Warner Bros. Cotillard’s mainstream period ended, for now, with _The Dark Knight Rises_, her second collaboration with Christopher Nolan. Cotillard’s character, with hidden motives and an aristocratic hauteur, differed wildly from _Inception_’s Mal; even working with the same commercially-minded director twice, she found totally new shades. ### Rust and Bone, 2012  Sony Pictures Classics Perhaps other actresses could have done what Cotillard did, evoking tears instead of laughs as she dances with an orca to the strains of Katy Perry’s “Firework.” But none of them might have brought the viewer on quite such a journey to get to that point. In the French-language _Rust and Bone_, Cotillard gets fiercer than she’s ever been onscreen, as an embittered sea-life trainer who loses her legs when her orca turns on her, only to ultimately forgive herself. That Cotillard returned to European art cinema after years as an in-demand Hollywood star is surprising; that she did so in a project quite so idiosyncratic, and that demands quite such a lengthy and baroque journey from desperation to “Firework,” is downright shocking. ### The Immigrant, 2013  DSC\_1351.NEF Weinstein Company Cotillard put herself through the wringer once more playing a Polish woman who’s endlessly exploited when she comes to America. It’s a tragedy in which Cotillard, dragged through illness, pain, and prostitution, finds some small semblances of grace. ### Two Days, One Night, 2014  Sundance Selects The Dardenne brothers, a pair of Belgian social realists, never work with movie stars. Or, at least, they didn’t until Cotillard shed any last semblance of glamour and submitted to the rigorous emotional demands of their film. In _Two Days, One Night_, Cotillard is forced to beg her co-workers to support her continuing to work with them, even as her firing means they’d get bonuses. From the film’s painfully of-the-moment economic concerns to its seriousness of purpose, it’s far outside the movieland mainstream. 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