It's the bitterest of winters and spring seems near and yet so far. Fear not, though, there's news that will brighten your day. Suits is coming back to TV in March. The sassy, snarky people of the constantly re-named law firm that employs Harvey Specter (Gabriel Macht), Mike Ross (Patrick J. Adams), Rachel Zane (Meghan Markle), Louis Litt (Rick Hoffman) and Donna Paulsen (Sarah Rafferty) will be heating up your living room. Of course, the madness will all be overseen by Jessica Pearson (Gina Torres), a good, strong woman boss who more than holds her own against the supposed boys club that is Law.
With all due respect to Almost Human's Kennex and Dorian, Specter and Ross have the best bromance on TV. Macht and Adams have great banter between each other despite events that strained their professional and personal friendships in the past. This must continue this season - it's part of the glue that really holds the show together. Of course, they can get mad at each other every now and then — the show needs drama, after all. But if it drags on too long, then the show loses some of its luster.
The character whose personal change works best is Litt. At the show's beginning, he was supposed to be the firm's resident jerk and foil for Specter and Ross. As the seasons have passed, he has slowly fleshed out into a really loyal person with his own code of honor. The events in last season's finale had him learning of Ross' duplicity regarding the fact that he had never attended Harvard Law School — or any law school for any matter. This is a fact that Pearson and Specter both know, but have kept under wraps. If the old, first season Litt re-emerges, all hell could break loose. I'd actually be very sad if that happened, since Hoffman has been turning in a consistently nuanced performance straddling the line of a comedic device and real person.
The fourth season is kind of a tricky one. By all accounts, it should really be hitting its stride and firing on all cylinders, since the cast is largely comfortable with each other. Then again, it has to also push some envelopes, so as not to become stale. The problem is, if they push in the wrong direction, then things can fall apart very, very quickly and it's hard to get viewers back after missteps. But if the cast keeps its cohesiveness, then that would go a long, long way.
That said, get ready for March 6. Spring and sunshine won't be too far behind. Time to get the suits out of storage.
In the beginning, Suits was about a hotshot lawyer and the smart ne'er do well he took under his wing (who wasn't technically a lawyer, but was smarter than most). But after two seasons, the USA dramedy has morphed into a funny drama about power dynamics in a female-led law firm and the relationships of its employees.
While much of the Season 2 finale action surrounded the pending merger of Pearson Hardman with the British firm of Harvey Spector's brilliant ex-girlfriend, the most shocking, jaw-dropping (and downright sexy) moment didn't surround the firm at all — it was an emotionally charged moment between almost-lovers Mike Ross (the non-lawyer lawyer in question) and Rachel Zane, the smart paralegal too shy to try for law school.
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Rachel confronted Mike about why he wouldn't send Harvard Law School a letter objecting to her rejection, and although it seemed like he might keep his mouth shut yet again, he finally confessed to Rachel what he'd almost revealed many times before: He wasn't actually a lawyer, and he never went to Harvard.
He didn't want to lose her respect or admiration (or attraction, frankly), but he realized he'd lose her anyway if he didn't tell her. Rachel ran away at first, but couldn't deny the magnetic moment between her and Mike and they wound up in showing the Pearson Hardman file room the sexiest time it has ever seen. Don't lie, this is a safe space: You totally rewound that a couple of times before you went to bed. You can tell yourself it was to examine what kind of core strength these two needed to balance their bodies across file shelves like that, but we all know the truth.
The post-Hardman aftermath was a major focus of the episode, too (sorry, it was the main focus, we're just flustered still after that ending), with Jessica asserting her power over Harvey to make him realize that she's still the dominant one in their partnership. Harvey lost his battle and the merger is happening, but he certainly won't be happy.
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Elsewhere in the episode, Louis had some great interactions with Donna, and Donna had some great interactions with Harvey and his sexy lady lawyer ex who's totally in love with him still (Donna is the best). Louis also had some fantastic moments with British Louis, the man at the other firm with his same job (played by the teacher from Love Actually).
The question of whether Harvey's name will go on the wall next to Jessica's is still up in the air, but who cares because that SEX SCENE YOU GUYS. It's all I can think about. It was so hot.
What did you think of the episode? Are you thinking about the merger at all, or are you still stuck on the Rachel/Mike developments too?
Follow Jean on Twitter @hijean
[PHOTO CREDIT: Christos Kalohoridis/USA Network]
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Everyone's favorite handsome lawer/non-lawyer-but-pretending-to-be-one dream team, Harvey Specter (Gabriel Macht) and Mike Ross (Patrick J. Adams), return with brand-new legal hijinks in the midseason premiere of USA's Suits. When we last saw the Pearson Hardman team, an internal power struggle had torn the team apart. Catch up with all the drama before the show returns for its midseason premiere on Thursday, Jan. 17:
Where we left off: Hardman was finally voted out of the firm, but Louis is now on the outs with Harvey and Jessica thanks to his short-term allegiance with their traitorous former boss. Mike finally decided to try a real relationship with Rachel, but failed big time when she caught him in bed with a married former fling. Also: After her temporary firing, Donna came back! (!!!!)
Biggest Jaw-Dropper of the fall: Grandma Ross's death. Mike just wants to be loved, y'all. Where will he turn now?
Biggest Let-Down of the fall: Donna's absence from the Pearson Hardman workplace. In most cases the appropriate cliche is "you don't know what you've got until it's gone," but in this case we knew exactly what hilarious banter and overall awesomeness we'd be missing.
Most Improved Character: Louis Litt. Sure, he betrayed Jessica and Harvey in the partnership vote. But in the first half of season two, Louis became a well-rounded character we actively root for (despite his tattletale tendencies). Can't wait for more character development in the final six episodes.
Least Improved Character: Mike. Before you freak out: season two has been filled with growing pains for our beloved non-lawyer. Although he's matured a lot since the pilot, the death of his grandmother triggered a backslide for Harvey's protege. Hopefully he'll be able to get his s--t together for the second batch of episodes.
5 Reasons You Should Keep Watching: 1. The arrival of Amanda Schull as a new adversary of sorts for Mike. Girlfriend can play sweet (Center Stage) or evil (One Tree Hill, Pretty Little Liars) — which one will assistant district attorney Katrina Bennett be? 2. More Donna. (Does that really need explanation?) 3. There's trouble in paradise for Harvey and Jessica. They've struggled with a balance of power in the past, and now that Hardman's not there to unite them, their relationship starts to crack. 4. We'll see much more of Rachel's back story and family life. 5. Since the mood in the office is tense following the Hardman ouster, there are some fantastic head-butting scenes between frenemies (or now just plain enemies?) Louis and Harvey. Plus: Someone major considers leaving the firm.
What we ultimately want to see: Mike and Rachel. Together. No...together. Yeah, that kind. You know you want it too.
What would make us turn our backs: Hardman returning to screw things up again. We need a new supervillain!
Suits airs Thursday nights at 10 p.m. on USA.
Follow Jean on Twitter @hijean
[PHOTO CREDIT: USA]
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Last year director Garry Marshall hit upon a devilishly canny approach to the romantic comedy. A more polished refinement of Hal Needham’s experimental Cannonball Run method it called for assembling a gaggle of famous faces from across the demographic spectrum and pairing them with a shallow day-in-the-life narrative packed with gobs of gooey sentiment. A cynical strategy to be sure but one that paid handsome dividends: Valentine’s Day earned over $56 million in its opening weekend surpassing even the rosiest of forecasts. Buoyed by the success Marshall and his screenwriter Katherine Fugate hastily retreated to the bowels of Hades to apply their lucrative formula to another holiday historically steeped in romantic significance and New Year’s Eve was born.
Set in Manhattan on the last day of the year New Year’s Eve crams together a dozen or so canned scenarios into one bloated barely coherent mass of cliches. As before Marshall’s recruited an impressive ensemble of minions to do his unholy bidding including Oscar winners Hilary Swank Halle Berry and Robert De Niro the latter luxuriating in a role that didn’t require him to get out of bed. High School Musical’s Zac Efron is paired up with ‘80s icon Michelle Pfeiffer – giving teenage girls and their fathers something to bond over – while Glee’s Lea Michele meets cute with a pajama-clad Ashton Kutcher. There’s Katherine Heigl in a familiar jilted-fiance role Sarah Jessica Parker as a fretful single mom and Chris “Ludacris” Bridges as the most laid-back cop in New York. Sofia Vergara and Hector Elizondo mine for cheap laughs with thick accents – his fake and hers real – and Jessica Biel and Josh Duhamel deftly mix beauty with blandness. Fans of awful music will delight in the sounds of Jon Bon Jovi straining against type to play a relevant pop musician.
The task of interweaving the various storylines is too great for Marshall and New Year’s Eve bears the distinct scent and stain of an editing-room bloodbath with plot holes so gaping that not even the brightest of celebrity smiles can obscure them. But that’s not the point – it never was. You should know better than to expect logic from a film that portrays 24-year-old Efron and 46-year-old Parker as brother-and-sister without bothering to explain how such an apparent scientific miracle might have come to pass. Marshall wagers that by the time the ball drops and the film’s last melodramatic sequence has ended prior transgressions will be absolved and moviegoers will be content to bask in New Year's Eve's artificial glow. The gambit worked for Valentine's Day; this time he may not be so fortunate.