Who Is THE GREATest?

Article first published as TV Review: THE GREAT on Seat42F.

Last month, Hulu premiered THE GREAT, a series about Catherine the Great and her combative marriage to Peter in Prussia during the 18th century. Far from a straight period piece, though the costumes don’t look modern, it’s an outrageous, cartoonish take on the scandals, with huge liberties drawn in events and lineage. Despite the complete lack of accuracy, which the show does not disguise, it’s a fun, salacious romp in the vein of Gossip Girl or other teen dramas. But do the kids want to watch this genre in a foreign land and time? If they won’t, I will.

I’ll admit, I loved Gossip Girl, and a few other shows like it. I have also thoroughly enjoyed what I’ve watched of THE GREAT. It’s not high-brow, but it is high-quality in the way its made. The plot makes sense, and the characters are well-developed. The acting is delightful. Yet, something about the way it leans into the messiness and away from facts makes it seem less-than the sum of its parts. This doesn’t affect the glee to be had in watching, but it does keep it out of a list of prestige television. Even though, from the standpoint of originality and its production, it might just deserve to be up there. There’s a certain superficial sheen over the whole thing, which is not a complaint, but a stylistic choice.

Elle Fanning (Super 8) stars as Catherine. Elle plays her as intelligent, but prone to giving in to emotion. She can fake her way along at court, but is so self-righteous that she struggles at first to do so, even when it endangers herself and others. THE GREAT doesn’t spend too much time dwelling on this, but just enough. Layers are added as the piece unfolds, such as her surprising taking to Leo (Sebastian De Souza, Medici), the lover her husband ‘gifts’ her. But her best moments are when she plots with her lady’s maid, an out-of-favor noble named Marial (Phoebe Fox, Eye in the Sky). (It must be said, Fox steals every scene she’s in.) Fanning may be at her best when Catherine runs roughshod over counselor Orlov (Sacha Dhawan, Iron Fist), whom she wants to help kill her husband, while he just wants to bring modernity slowly and safely to the country, one beard at a time.

Speaking of the husband Catherine is locked into a mortal battle with, Peter is played by Nicolas Hoult (X-Men: First Class). It’s easy to underestimate what Hoult is doing with the childish dummy, a petty tyrant who embraces pleasure and demands love and devotion while giving none in return. This isn’t Peter the Great; this is his son (grandson in real life) who cannot live up the shadow of his father, and is too consumed with love for his dad to see that everyone else has perceived the failing. It’s a thankless role, one viewers will root against, but upon later reflection, Hoult is killing it in the part, certainly a contender for best performance in the show.

There are also plenty of players at court. Like Peter’s lover, Georgina (Charity Wakefield, Wolf Hall), who has more depth than you might expect. Georgina’s husband, Grigor (Gwilym Lee, Midsomer Murders), doesn’t like sharing his wife, but has to take that out on others than the man who is to blame. The Archbishop (Adam Godley, Breaking Bad) is like a Rasputin at first, though far less effective. Drunkard general Velementov (Douglas Hodge, Penny Dreadful) is in control of practically nothing.

If you’re trying to learn about Catherine and Peter, it must be noted that they were married many years before he was in charge, though in this series, he’s already ruling when she arrives. Instead, his Aunt Elizabeth (Belinda Bromilow, Doctor Doctor) was the competent leader, portrayed in this as a crazy, though kind, nut. And once Peter did ascend, Catherine deposed him within six months. I don’t think that’s the path THE GREAT will take, as the battle between them is too much a part of the fabric of the show.

I find myself reluctant to praise THE GREAT too highly purely because of the zaniness it embraces without trying to be an obvious comedy. Yet, as I’ve said, I find much joy in watching it. If you want something that is both deadly and light, silly in its seriousness and serious about its silliness, or just a grounded period romp, then check it out

THE GREAT’s entire first season is available on Hulu now.

POWERS That Be

Article originally written for Seat42F.

Sony Playstation became the newest original series provider today with POWERS, its hour-long drama about people with superhuman abilities. Based on the comic of the same name, POWERS takes place in a world that, while not common, superpowers are present in a number of the population and have been for some time. With a new generation taking for granted their strengths, a grizzled former costumed crime fighter helps an underfunded unit control the baddies.

Our lead character is Christian Walker (Sharlto Copley, District 9), who was once known as Diamond. Christian is a complex character who regrets losing his powers and would do almost anything to get them back - except the one thing he knows that will. He’s still got the heart of a hero, but his skills to back that up are considerably reduced. He’s a brooding, unfulfilled man, and POWERS will surely be about him overcoming obstacles to return to his former glory, with or without special abilities.

Christian’s world is a very dark one. A single wrong move in handling a captured villain gets his partner killed in the line of duty, an event we’re told is not uncommon in this work. The public needs Christian and the rest of the department, led by Captain Cross (Adam Godley, A Young Doctor’s Notebook), but they won’t provide them with the resources to be effective, instead counting on other superheroes to do a job that they just aren’t doing as well as they used to.

The problem with the youth of today who should be out saving the city is a familiar problem often seen in stereotypical portrayals of teens now. They are addicted to social media and technology, and obsessed with achieving fame with little or no effort. They want to make their names on YouTube, not by saving lives. It’s regrettable, to say the least.

This is one of POWERS’ largest issues: the flat way in which characters or situations are introduced. Not everything in the pilot happens exactly as expected, but a great deal of it does. The primary bad guy, Johnny Royalle (Noah Taylor, Game of Thrones), is talked up too much to be frightening. The dialogue is frequently boring and trite, and large parts of the main plot are superficial. This applies even when Christian is on screen, and on paper Christian looks to be a very fascinating individual.

The reason I’m not ready to write off the show, though, is because of the potential here. Because Christian is intriguing on paper, POWERS could do a lot to make him come to life. His mentor-turned-arch nemesis, Wolfe (Eddie Izzard, Hannibal), is equally compelling, and viewers are sure to empathize with the girl who desperately wants to be like her heroes, Calista (Olesya Rulin, Greek). We also have yet to catch more than a glimpse of Retro Girl (Michelle Forbes, The Killing), Christian’s ex who is still in the game. Even if there’s nothing original about Christian’s new partner, Deena Pilgrim (Susan Heyward, The Following), and the up-and-comer with a crush on him, Zora (Logan Browning, Meet the Browns), is kind of creepy, POWERS may still go somewhere.

The biggest problem Playstation will have with POWERS, though, is probably going to be the lack of availability. The first episode is free on YouTube (in a terrible version of HD), but you are required to sign up for a Playstation account in order to buy the rest, which cost additional money. Other TV series are offered through this service, but this is the only original show, so I don’t see a lot of people going to the effort and expense of doing this. Worse, it is not available on other Sony platforms, such as a blu-ray player, even though other Sony devices have the same video service (though it can be watched on a computer). Those who have Playstations likely make up a lot of the target audience, but there are plenty of other viewers who would watch if it were easier to do so. This release is pretty poorly handled.

POWERS has made the first three episodes available today, with an additional seven coming in the first season. Check it out if you want to, but be prepared to pay if you want to keep watching past the pilot.

Chapter Closed On A YOUNG DOCTOR'S NOTEBOOK

Article first published as Chapter Closed On A YOUNG DOCTOR'S NOTEBOOK on TheTVKing.

The British series A Young Doctor's Notebook, which has been airing on Ovation in the States, came to a close last night with the fourth episode of season one (a second season has been ordered). While short in length, it's been quite a journey for the Young Doctor (Daniel Radcliffe), from eager graduate, topping his class, to hardened, drug-addicted general practitioner in the cold wilderness. But this is nothing compared to what we learn about the Older Doctor (Jon Hamm).

It turns out, A Young Doctor's Notebook plays out in the Older Doctor's head. This explains the cartoonish style and exaggerated happenings and people. The Younger Doctor's life is not portrayed as reality, but rather the hallucinations of the Older Doctor, suffering withdrawal from morphine addiction. Unlike FX's Wilfred, the answer to the mysterious center is presented sooner, rather than later.

This changes the perception of the entire piece. At first, it seems a goofy comedy, easy to laugh at the Younger Doctor's antics, whether it be in botched medical procedures or fumbling around in general. But now, knowing this is in the Older Doctor's diseased mind, it becomes a sad, melancholy drama, one from which there is no easy escape. The laughs cover pain. As the Doctor gets tossed behind bars in the 1930s, we see not only the beginning of his downfall in the 1910s, but how he sees himself, which is not so positive.

The surreal quality of A Young Doctor's Notebook is thoroughly intriguing and enjoyable. Even when one is rendered uncomfortable by events, the series remains something that can't be looked away from. The brilliant performances by Hamm, Radcliffe, and others ground a story that could so easily be silly or ridiculous in serious emotion, while still hitting the notes of a humorous play, and it's very impressive.

In the final half hour, the Young Doctor travels to the aid of a woman who has been bashed in the skull. An Even Younger Doctor (Joshua McGuire, The Hour) assists, and this is when we see how much our Young Doctor has changed. Almost wordlessly, the Young Doctor euthanizes the injured girl, knowing there is no cure, a realization that is slow to dawn on the Even Younger Doctor, then eats ham. We can see a pattern about to be repeated, a bad cycle that will be very difficult to escape from.

The Young Doctor even fantasizes about having his license stripped, half seriously wondering how many patients he would have to let die (never kill) to escape the hell of his job. The Older Doctor finds out, unfortunately, just how low he can sink. It's a message that can sort of be communicated, since they interact in the story, but the Older Doctor holds back somewhat, perhaps knowing he can't change the course of his life. So, so sad; a bitter, inescapable destiny.

While the focus is on the Doctors, as it should be, the series would not work nearly as well without the talented work of the supporting cast. Adam Godley, Rosie Cavaliero, and Vicki Pepperdine do extraordinary work, and they should not be forgotten about. The way they lend themselves to small, supporting roles is not exactly an easy feat, balancing between being entertaining but not distracting. Each have specific moments that can be praised, and the overall effect owes a lot of credit to the trio.

The same can be said for the crew that builds the sets and costumes, and lights the scenes, as well as scores the piece. There is a tone here, reinforced by every aspect or the visual and audio presentation.  A lot more is going on than just actors delivering lines, and it's the combination of everything that really lets this succeed in the best possible way.

I don't know when we'll get a second season of A Young Doctor's Notebook, and with our eyes opened, it certainly won't be as funny and light as the first. Yet, even as depressing as it may be, I really want to see more of these characters and this world. They have left a lasting impression not to be soon forgotten, as much for the high quality of the production, as for the compelling story itself.

Peek Inside A YOUNG DOCTOR'S NOTEBOOK

Article first published as Peek Inside A YOUNG DOCTOR'S NOTEBOOK on TheTVKing.

Ovation is currently airing the four-part series A Young Doctor's Notebook. It is the story of a medical professional, fresh out of school in Moscow, who heads out to the country to run a small hospital. It's funny, in a dramatic way, and completely charming. This is a review of the first episode.

The Young Doctor, who has no established name, is played by Daniel Radcliffe of Harry Potter fame. In the first episode, he arrives near the town, and has to drag his large trunk through the snow to reach his destination. He's not even settled in among the disapproving staff, who keep talking about his worshiped predecessor, a portrait of which looms large in the halls, when he has to jump into a surgery on a woman giving birth, made complicated by the fact that the doctor has never actually seen a vagina.

That is a heck of a set up for a story, and one easy to vividly picture. Everything about the tale is a little larger than life, from the way the former physician is idolized, to the extreme give in the doctor's bed, to the incessant smoking of cigarettes. It takes a realistic situation and heightens it in the best manner possible, until it's almost a tall tale or a fairytale, laid out on screen in beautiful grey tones.

The supporting cast is appropriately cartoonish, from the long-winded feldsher (Adam Godley, Suits, Breaking Bad) to the disapproving nurses (Vicki Pepperdine, Getting On and Rosie Cavaliero, Jane Eyre). They help set the mood of the piece, and somehow manage to be disapproving of the Young Doctor, who viewers instantly love. It helps build the world that these will be the Young Doctor's companions, those who don't laud praises on him, providing stark contrast to what is on screen from those watching it.

Radcliffe is perfect for the lead part, manically rushing around, stumbling through broad physical comedy, and yet maintaining an earnest naivety that is sure to connect with viewers. His fear is real and felt; his triumphs are accidental, but celebrated. And when his ego gets a little too big, his confidence running high, he's quickly pulled back to earth by a major screw up, delivered with laughter. Sure, the role is a little similar to the part he's most famous for, but now he has only his wits to rely on, not magic.

OK, there's a little magic, in that an older version of himself (Jon Hamm, Mad Men) appears to offer unwanted guidance. The Older Doctor is seen only by the Young Doctor, and isn't exactly generous with his younger self. The Older Doctor wants the Young Doctor to learn through experience, so he doesn't reveal quick solutions, and actually proves a hindrance at times, such as tearing out a page of a medical text that might be helpful for the situation, trying to teach himself to rely on his own mental acuity when there's no time for reading.

These scenes between the two are fantastic. I'm not sure I completely believe them as the same person, especially given the height difference, but it still makes for an entertaining series by two terrific actors. The Older Doctor is frustrating, but the Younger Doctor needs him, and likely will continue thusly.

Hamm only allows his Don Draper skills to emerge during the ending scene, set years later, and this is where the drama of the piece comes in. We don't know exactly what is happening to the Older Doctor, but it seems dangerous. The rest of the time, he gets to work his comedy chops, as he has done in 30 Rock and, Childrens Hospital, proving he can span the genres with ease, making him a great pick for A Young Doctor's Notebook.

I can't speak enough praise for A Young Doctor's Notebook. If you're dissatisfied with the lackluster batch of new pilots of broadcast television, this is sure to cure your doldrums in a hurry. I highly recommend checking it out.

BREAKING BAD Broken At Last

Article first published as BREAKING BAD Broken At Last on TheTVKing.

One of the most anticipated series finales in a while, AMC's Breaking Bad aired its swan song, "Felina," last night. Walter White (Bryan Cranston) returns to New Mexico to settle some scores and preserve his legacy, in danger of being gone completely. It is a very satisfying end for the chemistry teacher-turned-meth cook, though the episode did not serve the supporting characters as well.

It's surprising to see "Felina" start with Walt going to the home of Gretchen (Jessica Hecht) and Elliot Schwartz (Adam Godley). Their part of the story was way back in the early episodes of the show, and they aren't mentioned much after. Yet, there's a nice full-circle feel to Walt confronting Elliot and Gretchen now. At the end of a series, one wants it to tie back to the beginning, and because Walt needs them, it doesn't feel forced to revisit them in this last hour.

Everything that leads Walt to his former business partners is a natural happenstance. We realize that they are the first ones that screwed him over, in his opinion, and so set him on the path of changing from powerless to powerful. What happened with them shaped Walt into the man we've seen him become. Instead of taking revenge, though, as Walt has on others, he uses them as a tool to get money to his family. Their offense is minor, by comparison, and so is their punishment. Though, since Walt needs them alive to fulfill his purpose, that could contribute to the decision not to hurt them.

Is it necessary for Walt to scare and threaten them? His entire interaction with Elliot and Gretchen, from sneaking into their house, to nonchalantly examining things until they notice him, is designed to strike fear into their hearts. We've seen Elliot be generous with Walt before, and it's likely Elliot would have cooperated without the danger of a hit man looming over him. But there's always the chance Gretchen would block Elliot from doing so, and Walt is nothing if not thorough. He leaves nothing to chance.

The fact that Walt's "assassins" are Skinny Pete (Charles Baker) and Badger (Matt Jones) is a perfect twist! Walt sells the idea that he has hired professionals, but part of me was thinking it just might be them, and hoping for it. We get an amusing scene with these two wonderful characters, and I can't help but think they really deserve to be part of this finale, glad that there was a logical way to work them in.

Now, not every important Breaking Bad character gets to be part of the finale. Hank (Dean Norris) is dead, though we see a glimpse of him in flashback. And Saul (Bob Odenkirk) is absent completely, but he already had his ending, disappearing. So while I will not say Skinny Peter and Badger are more essential to the last episode than these two, because Hank and Saul have already had their endings, it's OK that they are missing, and no other important players are excluded.

Even Marie (Betsy Brandt) gets one moving scene. She calls to warn Skyler (Anna Gunn) that Walt is back in town. It's clear the sisters are still estranged, but this conversation shows that Marie has not given up on Skyler, and still cares about her. They will face a very long road if they ever want to get back to having a relationship, but at least there's still a window left open.

Walt is nothing if not brilliant, and he has figured out how he can move around town freely, as he needs to: he simply calls in lots of tips on himself. Marie mentions "two or three voices," so Walt probably has Skinny Peter and Badger calling, too. But how smart is that? Knowing that he will be spotted and that the authorities really want him, he distracts them by appearing to be everywhere at once, spreading the DEA's resources thin.

Walt and Skyler's final scene together is tense, and most of what occurs happens between the lines. We can see that Skyler still loves Walt, evidenced by the fact that she not only lets him in, but lets him see his daughter. And Walt loves Skyler, not telling her the money is coming to her, so as not to sabotage his own efforts, and giving her the coordinates to where Hank and Gomez (Steven Michael Quezada) buried to exchange for leniency from the authorities. But their time is over, and their lack of kiss or hug is very telling. Walt has lost his family.

It's even sadder that Walt can only glimpse Junior (RJ Mitte) through the window, knowing that approaching his son would be his undoing, as Junior would not hesitate to scream for the officers guarding the apartment. In that moment, watching Junior go into his run-down home, Walt has got to feel very guilty and helpless, as he deserves to be.

Then, it's time for Walt to take down his enemies. This is purely in order to satisfy his own selfish feelings, as doing so does not help his family nor anyone else. Walt goes after Jack (Michael Bowen) and crew, and mows them down by outsmarting them, not exactly hard to do with their less-than-stellar brain power, but still impressive. He even thinks to poison Lydia (Laura Fraser) ahead of time, to make sure all the bases are covered. "Felina" needs one good action scene, and the shoot out at the compound takes care of this, but because it's an exhibition of Walt's intelligence, it doesn't feel gratuitous.

Walt's rescue of Jesse seems incidental. Walt doesn't know Jack still has Jesse until he gets to town, and while it could be argued that Walt may want to save Jesse, it feels more like that he wants to get even for having his money stolen, and Jesse being there is just convenient, though not in a false way. That being said, once Walt sees Jesse, he has to tackle him and not just let him get shot.

No matter what has happened between them, Walt still thinks of Jesse as family. In their final scene together, Walt is saying he's sorry without uttering the words. Walt isn't about to grovel and beg for forgiveness, nor is he bogged down in regret about handing Jesse over to Jack. But he sees Jesse has paid his penance, and doesn't want to make Jesse suffer any further. And, as Walt knows he isn't making it out of the compound alive, it doesn't cost him anything to offer Jesse the chance to put him down.

Jesse doesn't feel the same sense of reconciliation. He hates Walt, and has every reason to, blaming Walt for pulling him into this ugly business that has led to the death of not one, but two women he loved. The only reason Jesse doesn't kill Walt is because Walt wants him to do so, and says it. Jesse would rather Walt suffer, and knows Walt isn't having a good life, whether he lives to leave the compound or not. Jesse wants Walt to be miserable as long as possible, and leaves him to be so.

It's a triumphant moment when Jesse escapes. He gets to kill Todd (Jesse Plemons), Jesse's personal torturer, the only one quick-witted enough to duck the bullets, but shocked dumb enough to stare out a window and turn his back on his enemies. Jesse is now free of both the gang and of Walt. It's just a shame he doesn't take a few minutes to find some of Walt's money so he has some cash to start a new life.

The last scene is of Walt, who has been shot protecting Jesse, dying in a meth lab, the melody "It's All Over Now, Baby Blue" playing. This is very powerful and fitting. Walt's product, his "baby blue," was the thing he loved, and it couldn't turn it's back on him like everyone else, not being a person, so he dies in it's company. The bullet Walt takes while shielding Jesse is not redemption; that, Walt will not have. But he has accomplished what he set out to do, and he's ready to lie down and be done.

The story of Breaking Bad is Walt's personal journey, an amazing character study, with the protagonist fundamentally changing from one end to the other. In this, "Felina" serves as a very well-done ending, hitting the beats Walt needs to go through to finish his life, and giving him the death he wants when he wants it. Perfect.

I'm a little sad we don't get to see what happens to Jesse, Skyler, and Junior down the road. I'd hoped, after Walt died, for a montage to let fans know these others are OK. The show isn't about them, though, it's about Walt. That kind of montage could have only been post-Walt's death, but that would robbed the final shot from being of Walt, which it needs to be. So while I really wish for a glimpse of these people down the road, that has to be let go and appreciate that the show did exactly what it should do.

Thank you Vince Gilligan, Bryan Cranston, and company for creating one of the best shows ever made. This is the reason those who previously only read books, looking down on the visual medium, are beginning to turn to television, as excellent examples of storytelling can be done on the small screen, too. The entire five-season epic will stand as a shining example of what TV can and should be.

Breaking Bad will be missed.

Not "Bad Faith" to Recommend SUITS

Article first published as Not "Bad Faith" to Recommend SUITS on TheTVKing.

This week's penultimate Suits of the summer, "Bad Faith," is an excellent installment. I say that not because of the backstabbing, brinksmanship, romantic drama, funny moments, and triumphant victories, of which there are plenty, but because of the way it serves nearly all of the major characters. This is an ensemble piece, and with each member of the cast fully able to pull their own weight, it's always gratifying when they get the chance to do so.

Right away, we have a magic scene between Donna (Sarah Rafferty) and Harvey (Gabriel Macht) discussing handbags. They've had a rough few weeks, and to witness the two getting back to what they are, seeing their relationship repaired, and the equal footing they really do stand on, is great.

The champion of "Bad Faith," though, is Louis (Rick Hoffman). The sometimes-despised man has both highs and lows, first screwing up a deal horribly, losing his cool when goaded by Nigel (Adam Godley), then saving the day, seemingly, when he not only swallows his pride in asking Harvey for help, but finds a way to land the firm a whale. This is Louis at his worst and his finest, and thank goodness the finest comes second.

Hoffman handles both ends of the spectrum in a sympathetic and layered way. Even when Louis screws up, fans root for him because we know why he does what he does, how often he is overlooked by his superiors, peers, and even inferiors, and we also know his heart is in the right place. This is a familiar type of person, someone who can work their hardest and try their best and still not be good enough. Yet, because he dusts himself off and does it again, he is noble and laudable.

Louis may be the most popular character on the show, and that is owed to both the material given him and the actor that brings him to life. While others are good or bad, sometimes both, depending on circumstance, Louis is only ever a typical man, neither evil nor perfect, his flaws realistically fleshed out. Whenever he is brought front and center, the result is rewarding, and "Bad Faith" hits those notes.

The fact that Darby (Conleth Hill) sends Nigel to negotiate, knowing the Jessica (Gina Torres) and Harvey are smart enough not to attend themselves, given their emotional investment in the process, shows just how intelligent Darby is. He is multiple steps ahead of our main players. They have met their match, even more so than in Hardman (David Constabile), with Darby.

Funnily enough, though, they may have defeated Darby if not for Harvey's own mistakes, proving that no matter great the foe, one is often one's own worst enemy. Because of how Harvey handled Ava Hessington (Michelle Fairley), Ava takes away her business, leading to misunderstandings and betrayal. It's a blow out of left field, one unexpected. There are too many pieces in play to keep track of them all at once, and a single oversight has huge ramifications.

This leaves negotiations between Darby and Jessica's firms at an impasse, with Scottie (Abigail Spencer) announcing the divorce is off. This leaves one wondering whether Pearson Darby Specter can somehow make a Hail Mary play that works at the last second, or sets up a fourth season even more embroiled in the serials arcs that make Suits so good.

Other great moments in "Bad Faith" are Mike (Patrick J. Adams) not realizing that his playing hardball with Robert Zane (Wendell Pierce) will hurt Mike's relationship with Robert's daughter Rachel (Meghan Markle), Mike asking Rachel to move into the apartment with him, Louis finally getting in on a Harvey / Jessica scheme, Harvey complimenting Louis sincerely, Katrina (Amanda Schull) playing cheerleader for Louis, and Donna pretending she just knows what's going on between Rachel and Mike. Excellent hour, all around.

Suits' season finale will air this Thursday at 10 p.m. ET on USA.

Make An "Arrangement" With SUITS

Article first published as SUITS Review Season 3 Premiere on Seat42F.

Grade: 90%

USA’s SUITS is back for a third season this week with “The Arrangement.” Taking place in the aftermath of last year’s finale, the employees at Pearson Darby (the firm’s new name) have to deal with broken trust and failing relationships. Everything is far from copacetic, or even status quo, as what has been shaken up has not yet begun to settle down.

The most painful split may be between the show’s two most central players from the beginning, Harvey (Gabriel Macht) and Mike (Patrick J. Adams). Mike having betrayed Harvey for Jessica (Gina Torres), he will do just about anything to win back Harvey’s trust. This is not helped at all when Jessica gifts Mike an office.

What’s scary is that there is no clear path to come back from this. Usually, either Mike or Harvey has a brilliant idea that can save the day. But Mike fails to come up with anything more spectacular than a little research, which isn’t all that impressive to Harvey, and Harvey doesn’t seem to want to try. If Harvey is swatting away all of Mike’s olive branches, is there a point in even sticking them out?

It’s good that this has shaken Mike to the core, though. Mike can sometimes be a little too overconfident, and somehow skates by when anyone else would fall. Losing Harvey as a mentor and friend should be a wakeup call to make sure he keeps himself in check. Mike is a good guy, for sure, but it will not hurt him to take a step back once in awhile and think more about those closest to him.

Similarly, the rift could end up helping Harvey if it teaches him to embrace forgiveness. Harvey tends to hold a grudge, as evidenced in the way he treats Louis (Rick Hoffman), and especially in how he is now at odds with Jessica. Harvey likes to sort people into ‘friends’ or ‘enemies,’ and when a person is put in one box or the other, it is very hard for them to get out again. Maybe through making up with Mike, which surely must happen eventually, Harvey will be a better man, one more willing to let past faults go, his own as well as others’.

It’s sad to see Harvey and Jessica against one another, as cool as it is to anticipate a battle between gods of the legal world. Their clash will be epic, and yet, it is emotionally painful that they are against one another. It’s a situation where they just need to agree to disagree, and Harvey needs to see Jessica as his boss, which is what she is. Unfortunately, they are both too headstrong for peace to be found. Unlike with Mike, Harvey’s reconciliation with Jessica is not assured, as her character frequently verges on the edge of antagonist.

These warring factions make it all the more easier for Darby (Conleth Hill, Game of Thrones) to establish control. He is the one in charge now, above Jessica even, and while he sometimes takes a seemingly relaxed approach in dealing with the lawyers, there is cold resolve in his eyes. He knows what he is doing, and because Jessica, Harvey, and Mike are in no place to unite and stand up to him, he is easily able to put them in the places that he wants them in. For now, anyway.

I don’t know why I jump straight into thinking Darby is a bad guy. He helps the firm out when they need it, and he hasn’t done anything untoward to the beloved main characters. Darby even grants Harvey a favor in “The Arrangement,” something he certainly does not have to do. Maybe it’s because I’m remembering the unpleasantness brought on by the previous partner, Hardman, or maybe it’s because we expect Harvey to always get his way on his own terms, and Darby will stand in the way of that, but there’s something that keeps Darby at arm’s length.

Perhaps the most surprising development in “The Arrangement” is Donna (Sarah Rafferty) turning on Mike. It shouldn’t be a shock, given Donna’s absolutely loyalty to Harvey, and the fact that, in essence, Mike betrays her, too, but I didn’t see this coming. Donna is previously Mike’s supporter, and the surest thing to convincing Harvey to give Mike a second chance. But if she wants to shut Mike out, Mike has an even steeper climb back into good graces.

Mike’s hope for fixing things with Donna are his compassionate heart, which Donna does notice, though maybe not this week, and his relationship with Donna’s friend, Rachel (Meghan Markle). I will not spoil where Mike and Rachel end up in their dance in the premiere, but suffice it to say, both their strong feelings for one another and Rachel’s extreme disappointment in Mike are major factors. Where they land could definitely mean something in how Mike and Donna interact going forward.

Other things that are great in this wonderful episode are the scene where Donna gently questions Harvey about his feelings for Scottie (Abigail Spencer), a guest appearance by a second Game Of Thrones alumni, and Louis engaging in a battle of wits with the scorned Nigel (Adam Godley). Best of all, none of these things are resolved in the first hour, so there’s a lot to anticipate in the coming run, and fantastic guest stars will recur.

What SUITS does well is to build large, character-driven arcs. It is not at all a procedural or typical lawyer show. It is about people who all do what they think is best, and sometimes there can be more than one right side to an issue. SUITS operates in shades of grey and in nuance, rather than broad strokes or permanent us versus them labels. “The Arrangement” takes what has built over the first two years and matures it into the next natural step. Very exciting.

SUITS airs Tuesdays at 10 p.m. ET on USA.