BILLIONS Well Worth It

Article first published as BILLIONS Review on Seat42F.

Showtime’s new series BILLIONS is seemingly about a hedge fund manager and a U.S. Attorney, a battle of the big guy versus the common man, and a way to express class frustration in this country. But what it really is, is a drama about two flawed, petty men going at one another for all they’re worth, a battle to the death (perhaps not literally, but definitely of life as they know it), that only one man can walk away from, at best. And honestly, that’s plenty for me.

WARNING: Spoilers are below, but nothing more spoiler-y than Wikipedia reveals.

BILLIONS stars Paul Giamatti (Sideways, John Adams) as the United States Attorney for the Southern District of New York, Chuck Rhoades. Chuck has a flawless record locking up those who deserve it, picking his cases carefully, and with a chip on his shoulder against the rich who think they’re above the rules. He is influenced by his successful father, and intimidated (sometimes positively) by his wife, Wendy (Maggie Siff, Sons of Anarchy, Mad Men), who makes far more money than he does.

Wendy makes so much because she works for Bobby Axelrod (Damian Lewis, Homeland, Wolf Hall), an extremely successful player in the financial game. Wendy is his motivational coach, though one wonders how much she knows about Bobby’s dalliances on the wrong side of the law. Bobby’s own wife, Lara (Malin Akerman, Watchmen, Trophy Wife), is certainly aware and supportive, even when it includes milking 9/11 for the family’s monetary gain. This couple sometimes pushes things a little too far.

Admittedly, that premise is a bit far-fetched. The coincidence of Wendy’s employment alone, though existing long before Chuck rose to power, stretches believability. Yet, the characters are perfectly positioned for maximum conflict and drama, so I don’t find myself minding all that much.

The primary reason to watch BILLIONS is Giamatti and Lewis. Both accomplished, excellent performers, watching them take these complex men and engage in a person struggle is highly engrossing. Both have noble qualities and glaring flaws, and both do things from a calculating perspective. They are two titans at the top of their game (a description of both the characters and the actors), and it’s a privilege to see them compete with abandon.

That isn’t to say the story isn’t enjoyable. Any series on Showtime these days is pretty darn good, with the network having a high level of quality in their programming. There are layers and twists and plenty of detail to keep things interesting, and the topic is relevant and current. I’m just saying that is secondary to the main attraction, the fight where viewers will be unsure of who to side with from one scene to the next.

What I’d most like to see change as time goes on is for Wendy and Lara to play an equal role in the proceedings. Wendy certainly does more than Lara in the pilot, but is still supporting to the men. The lead actresses are perfectly capable of standing toe-to-toe with their on-screen husbands, so I hope BILLIONS is gender-equal over time.

There is also a top tier supporting cast, including David Costabile (Breaking Bad, Suits) and Toby Leonard Moore (Daredevil, The Pacific), who play the assistants to our antiheroes. The production itself is pretty, and the direction is appropriate to the scale of the conflict.

In short, BILLIONS is exactly on par with what I expect from Showtime, if not a notch or two above some of its peers. I am definitely committed to watching it, and recommend you check it out. Like I said, if nothing else, you’ll likely enjoy the leads.

BILLIONS premieres Sunday at 10 pm on Showtime.

DIG Deeper

Article originally written for Seat42F.

USA’s DIG has an intriguing premise, the kind we need on television. Created by Gideon Raff (who created the show Homeland was based on) and Tim Kring (Heroes, Touch), DIG is a globe-spanning mystery set mainly in history-teeming Jerusalem and full of biblical prophecy. Our hero has to investigate a murder and a conspiracy despite overwhelming odds against him, while forces are rising in other parts of the world that will soon converge in Israel. It’s a really great concept for a TV show.

Unfortunately, DIG is not as well-executed as it should be. The story plays out in a predictable manner with some really trite dialogue, and an absolutely stupid use of a grainy surveillance photo. There are good things of note in the pilot, but the pacing makes much of the hour boring, and there’s real a lack of depth in several of the lead characters.

It’s known that Jason Isaacs (the Harry Potter films, Awake) is a good actor, and I’m sure he can convincingly carry a show. Just not this one. His character, Peter Connelly, sleeps with a very young woman, Emma Wilson (Alison Sudol, Transparent), who reminds him of his dead daughter, which is icky. He is married, by the way, and also already sleeping with his boss, Lynn Monahan (Anne Heche, Hung, Men in Trees), making him doubly repulsive. He’s bad at his job, pissing off the local cop he works with, Golan Cohen (Ori Pfeffer, World War Z), and inserting himself where he isn’t needed or wanted. He’s unlikeable, without even a bit of charm that normally makes such jerks tolerable.

While Peter is the main protagonist, thankfully there are others. There’s a side story about a red calf, and even better, a secret compound in a New Mexico desert that is keeping an orphan boy (Zen McGrath) hostage. These add actual intrigue to the plot, and provide a reason to keep watching, to see how they may tie into the story and if the mythology of the series will be worth committing to.

I particularly enjoy the compound scenes in the pilot. The place is run by David Costabile’s (Suits, Breaking Bad) Ted Billingham. Costabile is a reliable character actor, and his creepy cult leader is interesting. He is served by evil Faye (Angela Bettis, May), who matches his demeanor. Even better is Lauren Ambrose (Six Feet Under, Torchwood: Miracle Day) as his truly demented follower, Debbie, who is far too lax with their hostage, probably my favorite performance of the piece. Together, these three are far more compelling than anything going on with Peter, and so I kept finding myself eagerly anticipating their scenes.

I think the fundamental flaw with DIG is that it’s a Tim Kring show. Kring’s Heroes was a series that started out with an excellent premise and cool characters, then lost steam as he didn’t know what to do with them to keep them going. After the failed Daybreak, he then did Touch, which also involved global conspiracies. Again, Touch was a neat series that hooked the viewer, especially the pilot, which gripped a certain type of audience, myself included, in just the right way. But like Heroes, Touch suffered from a lack of direction and vision, and faltered as it wore on.

DIG feels very much like Touch, and that worries me. While there are some definite differences, including a darker tone, the lack of cohesion in the pilot itself makes me think this will go the way of Kring’s other efforts. Creating a poor core arc certainly doesn’t help, but this definitely feels like a one-and-done season because it squanders its ambitions from the start.

Television deserves a show like DIG, but not DIG itself, which falls short of the heights it should be reaching.

DIG airs Thursdays at 10 p.m. ET on USA.

LOW WINTER SUN Premiere Review

Article first published as LOW WINTER SUN Review on Seat42F.

AMC’s LOW WINTER SUN begins with the murder of Detroit cop Brendan McCann (Michael McGrady, Ray Donovan) by two of his fellow officers, who do their best to make the death look like a suicide. Viewers are told that McCann is an alcoholic, corrupt, working with mobsters, and an all-around not-good guy. He deserves to die, right?

Well, that’s not clear. LOW WINTER SUN is all about shades of grey, with a character claiming early on that morality is neither black and white. Said character, Detective Joe Geddes (Lennie James, The Walking Dead, Jericho), who happens to be Brendan’s partner, used to be in priest school, so he knows a thing or two about right and wrong.

Yet, just doing what one should or shouldn’t do isn’t enough, and everyone may have a different opinion on whether they are working towards justice or not, and how far one should go.

LOW WINTER SUN asks us to forget about a style of storytelling where we know what’s going on and just pay attention to the characters. What each person says and does may be much more telling than how the plot unfolds, and it presents a world where right and wrong are relative, as well as shifting from moment to moment. The only certain rule in this complex drama is that the episodes will be unpredictable, and we’re supposed to just take it all in, saving figuring things out and making our judgments for later.

Of course, every television show needs an access point where viewers can connect with the world being presented. LOW WINTER SUN’s main protagonist is Frank Agnew (Mark Strong, reprising the role from the British miniseries on which this show is based). Frank is the mastermind behind Brendan’s death, convinced by Joe that killing Brendan is the right thing, and that Brendan may have hacked up Frank’s love. Thusly, Frank is introduced as a hero, a man acting for the right reasons.

Frank and Joe’s alliance quickly falls apart. Joe may or may not have been up front with Frank, meaning Frank can’t trust his accomplice. Joe could be dirty, like Brendan, or could be lying about Frank’s girl. He may just be a smooth talker, or he may have yet-to-be-revealed reasons for wanting Frank dead. There’s a lot of ambiguity here, which James plays brilliantly.

Which is a hallmark of the rest of the series, too. Characters know different things at different times, and have their own motivations. These are well-defined individuals, which means their interactions are complicated and layered. Just as people can be deceptive in real life, so, too, can the players in LOW WINTER SUN, which makes it hard to accept what plays out on screen at face value. This is a plus for the show.

Things get more complicated when Internal Affairs agent Simon Boyd (David Costabile, Breaking Bad, Suits, Damages) shows up to look into Brendan. Simon arrives before Brendan’s body is found, but Simon is very interested in not only what happened to Brendan, but what the implications are. He is the type of man to keep things close to the vest and goad his subjects or not, as the need arises, driving everyone crazy very quickly. He is definitely intelligent enough to eventually put the pieces together, but is he wise enough to balance that information and the law with reality and judgment? Costabile is the perfect man for this difficult, juicy role.

Simon isn’t the only one Frank needs to worry about. A fellow officer, Khalil (Athena Karkanis, Wild Kratts), is already taking note of Frank’s odd behavior, as Frank tries to keep himself under control and not let doubt and guilt consume him. Frank’s boss, Charles Dawson (Ruben Santiago-Hudson, Castle), cares more about his career than his officers, tasking Frank with keeping Brendan from damaging him, and would surely throw Frank under the bus if need be. Frank is surrounded by people who might cause him trouble.

LOW WINTER SUN also takes time to examine the criminal side of Detroit, the one in which Brendan was mixed up in. There’s a wanna-be crime boss, Damon (James Ransone, Treme), his wife, Maya (Sprague Grayden, 24, Sons of Anarchy), and their new recruit, the psychologically damaged Nick Paflas (Billy Lush, The Chicago Code), to round out the cast. This means that not only will the show be giving us a very involved police presence, but also showing the other side, too, which makes sense, given the cross-over component, with villains and heroes working both sides of the line.

The result is an intriguing series that should be well-accepted by AMC viewers, who expect an extremely high quality to their programming, with characters and scripts not easily digested, and installments that leave them with much to ponder and debate. Despite its trappings of a crime drama, LOW WINTER SUN is so much more, and should feel right at home with the network’s other fare.

LOW WINTER SUN airs Sundays at 10 p.m. ET on AMC.

Suits goes to "War"

Article first published as Suits goes to "War" on the TheTVKing.

The characters in USA's Suits have had a rough season, what with Daniel Hardman (David Costabile) returning to the firm he helped found, trying to wrest control away away from the current partners, and then other firms smelling blood in the water and circling. In the season finale, "War," though, the biggest threat comes not from the outside of Pearson (Hardman?), but from the inside.

It's hard to tell which person the threat lies with. Jessica Pearson (Gina Torres) thinks the best course for the firm that she runs is to merge with a British company run by Edward Darby (Conleth Hill, Game of Thrones). However, Harvey (Gabriel Macht) disagrees, and does his best to thwart the arrangement.

Does Jessica have the firm's best interests in mind? Or is she just trying to put Harvey in his place? She's right that he acts like he has equal ownership in the place, so she has a point in wanting to humble him. But if Harvey truly believes that combining forces with Darby would be a mistake that will cost them all, then he might have good intentions, too. It's likely both Jessica and Harvey are motivated by selfishness and pride, as well as their stated purpose, so it all comes down to differing viewpoints, and not being able to back away from a confrontation with each other.

When combined against a common enemy, Jessica and Harvey are on the same page. Now, they clearly are not, making the workplace not nearly so harmonious. Is it because they do believe different things, or because they have been in fight mode for awhile, and are having trouble getting out of it? They still have aggression, and without Hardman or someone to direct it against, they end up turning on each other.

I worry about how things will progress in season three. By the end of "War," it seems that all trust between Jessica and Harvey is gone, both having cheated and played dirty to get what they want, with Jessica coming out on top. Harvey appears to be willing to play her game and get along, but it could just be a show, with him biding his time and plotting his next move. And maybe Jessica assumes that is what he's doing, so she's wary of him. There is a lot of tension there, and until the air clears, there will much discord between two characters, both beloved by fans.

What is very much up in the air is how Brady will fit into the chemistry. Will he be hands off, leaving Jessica to run things as she sees fit? Or will he interfere, meaning that Harvey is right, and Jessica will have to make up with Harvey to throw off the yolk of yet another dictator? Will he try to broker peace, or let them fight it out?

Sadly, the way Jessica wins is by using Mike (Patrick J. Adams), blackmailing him into turning on Harvey, his mentor and friend. Harvey takes the betrayal very personally, trying to fire Mike, who is now protected be Jessica, but who doesn't want to stay there that way.

Mike is put in a very difficult position. Jessica is his boss's boss. Mike can be forgiven for confiding in her initially, since he's seen Harvey support her all this times. Mike tried to find a way out himself, with double blackmail, but it didn't work. I don't know if Harvey could have protected Mike had Mike refused Jessica's orders. Surely, at some point, Harvey has to realize this. On the other hand, if Harvey thinks Mike put self-preservation above loyalty, understanding isn't going to do a whole lot of good, one way or the other.

We see just how bad things are for Mike in the file room at the end of "War." He is near tears, feeling like he has lost everything, and in a way, he's right. Adams does a superb job handling the roiling emotions, and it's a terrific scene for the actor, dealing with the fall out from a no-win scenario.

Then Rachel (Meghan Markle) comes in, mad at Mike for dodging a favor, and it's just too much. I've long been wanting Mike to tell Rachel the truth, and in this moment, if he doesn't, he could lose her forever. And so he spills his guts, and it results in hot sex, which they both need right then. They may be in dark places, professionally speaking, but at least they have each other, and that will help them. It's a bright spot on the horizon, one that will hopefully last this time.

I'm glad Mike and Rachel get the happy romantic scene, since Harvey's admirer, Scottie (Abigail Spencer), is tossed to the curb. Or is she? At Donna's (Sarah Rafferty) advice, Scottie sends a pretty clear message to Harvey about her interest in him. Even though Harvey is skeptical at first, it's enough to spur him to convince Brady not to fire her.

But will Harvey choose to work with her in New York, or send her to London? I'm guessing London, which would effectively end things between them. However, Harvey has shown some signs this year of maybe wanting to settle down, and if Scottie is a possibility, this could make for a whole other Harvey in season three, maybe one who is willing to extend an olive branch and an apology to Jessica.

Of course, Harvey could also be interested in Donna. Yes, I am glad the show doesn't go there because it's such a predictable move, but one of these days Donna is going to have to give a straight answer, while looking the questioner in the eyes, about how deep her feelings for Harvey go.

I would be remiss is I did not mention Louis (Rick Hoffman) in discussing "War." Not only does he have an amazing scene with Donna early in the episode, and we see him be a friend to Harvey, and he does the right thing in regards to Rachel, but he also has his own subplot with a potential new friend working for Brady, whom Louis sabotages a fledgling relationship with because he can't sacrifice the pride he has in his job.

I don't know if I like Louis more for sticking to his guns, even if it costs him a comrade, who I really hope pops up again, or am frustrated that he doesn't show his compassionate side here. We know he has one, and the interactions he has with each of the other cast members are phenomenally good. I do believe Hoffman's performance this year to be Emmy-worthy. Yet, Louis is a frustrating man, and it's hard to know when to love him or loathe him sometimes.

I have heard that opinions on this Suits finale have been mixed. For any detractors, I recommend watching again and just looking for the character moments. The movie and TV references are funny (nice Downtown Abbey one this week), and the cases are intriguing, but the leg up Suits has over its peers is just how well defined and performed the people featured are. These actors are doing incredible work, surely backed up by some truly smart writing. The moments that soar are the ones that display honest communication between any two of the main characters. This is why I love Suits, and will defend it vigorously.

Suits will return for a third season this summer on USA.

"High Noon" for Suits

USA's Suits ended its summer run on a high note; "High Noon," to be precise. The votes are in, and Daniel Hardman (David Costabile) is the new managing partner at the firm. Jessica (Gina Torres) appears to accept these events, while icily plotting her revenge. Louis (Rick Hoffman), at Hardman's urging, begins goading Harvey (Gabriel Macht), trying to force him into quitting. And Mike (Patrick J. Adams) doesn't deal very well with the death of his grandmother (Rebecca Schull).

The ten episodes of Suits this summer have been amazing, and "High Noon" is no exception. Seeing the game of politics and intrigue the characters play at a very high level is impressive, and while Hardman winning the battle is slightly surprising, what comes after is not expected at all. One might think that Suits would let Hardman stay in charge awhile. But the seeds were planted for a masterful conspiracy, and it takes Harvey, et al. very little time to bring the giant crashing down.

Is this the end of the line for this story? Hardman swears to return, and he probably will. But will that be the arc for the second half of the season, beginning in January, or merely a tease of a future story line, not yet planned or scripted? Costabile is a brilliant actor who did a terrific job in this role. Any chance to see him return would be most welcome, not least of all because it makes the central characters, whom viewers adore, step up their game and prove their worth.

Every hero must have a villain to vanquish. Suits understands this. But Suits, more than most stories, also understands that heroes are seldom always noble, and villains may have justifiable motivation. Harvey does some low down things in his quest for the win, and by the end of "High Noon," viewers may believe Jessica is capable of almost anything.

The odd man out is Louis. He turns his back on Jessica and Harvey, not without just cause. Though we still don't know for sure if he voted for Hardman or Jessica, it doesn't matter. Louis stood by Hardman, and relished the changing of the guard. While Hardman is gone from the firm, Louis must stay, at least for now. Will Harvey and Jessica be able to look past their anger and begin to treat Louis the way he deserves to be treated? Or will their coldness make him the next Hardman, the next great foe? Either scenario would be cool. Personally, I would like to see the writers put Louis in a clear antagonist position, and then make the viewers root for him against Harvey and Jessica. It's certainly possible.

The other major story in "High Noon" is Mike dealing with his grief. It is only with the help of a very patient Rachel (Meghan Markle) that he is sober and clean enough to show up for the funeral. Burying himself in his work, as Harvey allows Mike to do until he crosses a line, is not what Mike needs. Avoidance cannot replace feeling the loss. Rachel understands this, exposing a flaw in Harvey's character, and several for Mike.

Sadly, and a bit predictably, Mike screws things up. Not with Harvey, whom Mike shares some of the best moments of the series with in this episode, really reaching a level of friendship that belies their job titles. But it's Rachel whom Mike wrongs. On the brink of finally getting together, Mike thinks she rejects him and falls into bed with an old flame, setting the couple back quite a ways. In the classic "we were on a break" Friends style, Suits sets up this romantic dance to continue on for much longer. It's a shame, even if year two is a bit early to form any lasting romantic bond.

And what of Donna (Sarah Rafferty)? Hints were dropped at a possible love of Harvey, even if she swears she's not in love with him. I think these two will take much longer to get anywhere, if ever, a possibility shippers would be very disappointed in.

But the thing is, Suits hasn't jumped as much into the romantic arena the way other dramas have, and this is kind of a welcome change. It knows what it is, and how to do it supremely well. Add to that some of the wittiest dialogue on screen, and running jokes about can openers and balls, and it begs the question: Why mess with near perfection?

Suits will return to USA next January.

If you like my reviews, please follow me on Twitter! Check out my new website, JeromeWetzel.com! Originally posted on TheTVKing

Suits makes a "Discovery"

Last night's Suits on USA was called "Discovery." Mike (Patrick J. Adams) mouths off to Harvey (Gabriel Macht), and in retaliation, Harvey assigns Mike to Louis (Rick Hoffman). Working a case together, Mike actually comes to respect Louis, forming a pleasant bond. That is, until Louis plants a recorder in Harvey's office and hears the pair calling him pathetic. Meanwhile, Harvey asks Donna (Sarah Rafferty) to dig into an old case when he is accused of forgery by Tanner (Eric Close, Without a Trace).

"Discovery" has some of the best Louis scenes of the series so far. Here he is, exposed and raw, and at his best, professionally. Mike gets to see how talented he is, and also how much it hurts Louis to always be put down, never getting his due. It opens up a vein of sympathy, really making Louis a sympathetic character in a way that he has never been. He may be a dick, but he's good a reason for being that way.

Sadly, Mike's relationship with Louis is over almost before it begins. This isn't really Mike's fault. Mike is smart enough to know that Harvey isn't going to listen to a flat out defense of Louis. Thus, Mike finds himself agreeing with Harvey's negative comments just to get a little bit of a good word in. Louis doesn't realize this, focusing just on the bad stuff Harvey and Mike say.

The thing is, Harvey doesn't trust Louis for a reason. While viewers get to see Louis as a good man, Harvey knows the depths that Louis can sink to, and also his limits. I mean, Mike does, too, confronting Louis about his bad behavior. But while Mike still tries to look past that, Harvey has no patience left for that. In this, Louis has made his own bed, and has no one to blame but himself for the way he is treated.

Louis isn't the only one with insecurity, though. Harvey feels pretty righteous standing up for himself against Tanner, but he is vulnerable. Whether he purposely acted in the wrong or not, there is something here that seems to be Harvey's fault. And with Tanner determined to bring Harvey down, viewers certainly haven't seen the last of this story. Which is fine, because it's cool to see a less confident, not quite so smooth, version of Harvey.

The question is, how much support does Harvey have? Because he's going to need all he can get. Jessica (Gina Torres) is with him, of course, but now Hardman (David Costabile) is in the loop, too, because Louis tells him everything he overheard to get even. Hardman claims that he will be working on Harvey's behalf. And he may, if only to protect the firm. But by showing this weakness to Hardman, especially is Hardman helps beat it, leaves Harvey, and by extension, Jessica, vulnerable to further manipulation from the returned partner.

Hardman is the possible bad good who is seemingly on the good side, for now, while Donna is currently the good girl who did wrong. She discovers an incriminating paper in the files, and her name is signed to the document. This might mean that Harvey is culpable for fraud, and it's Donna that left him exposed. This is her worst nightmare, and she will do anything to make up for it. But how will she tell Harvey this, knowing how bad it looks, and is there anything she can do to protect him and herself?

Despite the seriousness of this discovery, the file search does lead to a wonderfully funny moment featuring Donna and Mike. As Harold (Max Topplin) catches them, they pretend they have had sex to cover for it. While amusing, this opens up an interesting pairing. Any chance Suits might ever consider going there? Donna may be a bit older than Mike, but she's still extremely attractive, and he would be lucky to have her. Then again, this would seem a bit wrong, so it's probably not a good idea.

Equally disturbing is Harold's worship of Rachel (Meghan Markle). There is a very sweet moment when Harold hits on Rachel in "Discovery," but the two are so mismatched that everyone knows it will never happen. Well, everyone but Harold. His earnestness is charming. Hopefully he will find love. Just not with Rachel.

Another excellent entry for one of the best shows running this summer! Catch Suits Thursdays at 10 p.m. ET on USA.

Check out my new website, JeromeWetzel.com! If you like my reviews, please follow me on Twitter! Click here for all of my Suits articles! First published as Suits makes a "Discovery" on TheTVKing.com

"She Knows" about Suits

USA's Suits returned tonight with a game-changing premiere called "She Knows." Whereas season one is a two man show that often feels like a procedural, it's clear immediately that season two is a serial with a much more dynamic plot. More twists are packed into this episode than one would expect, and some really cool new stories are set up.

First, the title of the installment must be addressed. Jessica (Gina Torres) is the epitome of cool as she deals with the revelation of Mike's (Patrick J. Adams) secret. Her conversation with Mike, fishing for info before ordering his termination, is a wonderful scene between two fantastic performers. She is smooth and guarded in the best possible way. The follow up to this, deciding to see just how good Mike is, is just as classic. Both moments send chills down fans' spines, especially those that have admired Torres for years, through her previous work. It's a triumphant hour for her as an actress.

Jessica understands that keeping Mike employed at Pearson Hardman threatens the entire company that she has poured her heart and soul into, especially now that "She Knows," so she demands that he be fired. No one can blame her for this. The firm is sort of like the child she never had. Her reaction is completely understandable, even if firing Mike would kill the series. Thus, the plot twist necessary to keep him around.

What is more painful for Jessica than learning Mike's secret is hearing of Harvey's (Gabriel Macht) betrayal. This is someone that she trusts implicitly. Harvey may not always do what she'd like him to do, but she is sure that he has her best interests at heart, and that he cares about her. This belief seems to be gone now. For Harvey to go behind her back like this makes him loathsome, and it will take a long time before he can start earning back her trust.

Yet, in the same episode we discover such an ugly part of Harvey, we also observe how good he can be. Tasked with firing Mike, of whom he has become very fond, Harvey can't bring himself to do it. Harvey has connected with Mike in a way that he never has with anyone else. For the first time, Harvey has found someone worthy of his mentoring. Which is why the scene where Harvey can't fire Mike not only redeems his character, but is just as memorable as the Jessica/Mike stuff.

One thing some might overlook is how Donna (Sarah Rafferty) handles the entire situation. She knows that Harvey must fire Mike, and doesn't try to stop him. But she is supremely proud of Harvey for not being able to go through with it. She also neglects to listen in on Harvey and Mike's conversation, very unusual for her, because she, too, has formed an attachment to Mike, and it would be too painful for her to hear it. This reveals another, softer side of her character, and one that is most welcome.

Speaking of Donna's sides, her conversation with Rachel (Meghan Markle) in the bathroom is something new. Donna and Rachel start to form a bit of a friendship in season one, but now they are really confiding in each other. It's nice to see such a strong, healthy bond between gals on television, a medium which doesn't always handle these types of relationships so well. How thrilling to be in on the ground floor as the pair get to know each other!

Most of this review has been about Mike's secret and how that plays out. But the truth is, there is a heck of a lot more going on in this episode, and that pushes Mike to the back burner. The series' ability to make Mike's story not the most important thing in the episode is a testament to Suits' great writing, especially since Mike's secret was a huge cliffhanger at the end of season one.

Hardman (David Costabile, Breaking Bad, Damages), as in Pearson-Hardman, the firm at the center of the series, decides to return to work. This may have been an entirely preventable turn of events. Harvey and Jessica practically panic when they learn Hardman's wife is dead, thus negating the blackmail they have used to keep him away for the past five years. But it's their aggressive plays to keep him on the sidelines that bring him back into the fold. Would he have returned if they hadn't acted? It's impossible to know. However, there is little doubt that what they decide to do certainly hurries this along.

Hardman threatens the firm even more than Mike. He used to be the boss. We don't yet know what he was like, or how he will be, as he is seemingly changed, upon his return. Too many main characters distrust him to be fooled, and there has to be secrets here. Hardman will definitely shake things up in ways that cannot be foreseen. Plus, there is now the threat of him finding out about Mike, which could ruin Jessica and the others.

Interestingly, Suits still manages to squeeze a case-of-the-week story in among all of these other happenings. Mike goes against the firm to help out a struggling author, only to learn some deeper truths. The screen time devoted to this story is miniscule, and what is spent on it is more about Mike's character than the case itself. As such, this isn't nearly enough to make this a procedural episode, and actually comes across as a very intriguing tale.

There are numerous twists and turns in "She Knows," as well as wonderful moments for each of the principal characters, including Rick Hoffman's Louis and recurring player Max Topplin's Herald, to shine. This is a fantastic hour of television, and one that certainly heralds, excuse the pun, Suits rising to a whole other level this year. Anyone who watches this episode would be hard pressed to dismiss the series with any negative comments now.

Suits airs on USA Thursdays at 10 p.m. ET.

If you like my reviews, please follow me on Twitter! Click here for all of my Suits set visit articles! Article first published as TV Review: Suits - "She Knows" on Blogcritics.

An Interview with Suits' Sarah Rafferty

Sarah Rafferty plays Donna on USA's Suits, a legal drama that prizes exploration of morality and character drama over case-of-the-week procedural. Donna is Harvey's right hand (wo)man, who knows everything about him. Harvey may be a slick hot shot with an ego, which is well deserved, by the way, but Donna relates to him better than anyone, providing moments that humble and ground Harvey. She has a quick wit and a kind heart. She also serves as the gatekeeper, keeping the world away from her boss.

Rafferty is nice, too. This is her day off, and she makes the trek to the studio, anyway, just to speak with us. She isn't done up to look like Donna, perhaps giving the impression, more than the other interviews that day, that she is a real person, not just the character she plays on TV. She is frank and open, excited to share her passion for the series that she loves being a part of.

The first thing Sarah reveals is that Donna has a huge story coming up in the fifth episode of the season. It turns out, Donna is not always right. I'll give a moment for you fans of the show to digest this, as it simply doesn't seem possible that her character could ever be wrong. But it's true. It thoroughly confuses Donna, as much as it will viewers, and will take several episodes to play out. Donna likes to put on masks, and they will fall away with this development. According to Sarah, after episode five, “That lingering confusion and doubt and remorse are there.”

Rest assured, though, Sarah says, "It's good wrong. It's right wrong." Whatever that means. But the bottom line is that Donna will be knocked off of her perfect pedestal, which, as beloved as she already is, should make for a more well-rounded character.

Rafferty is pleased with the way Donna's role is expanding this year, allowing her to be a more complicated person. In an effort to make Suits more of an ensemble piece, and a less predictable formula, Donna isn’t just interacting with Harvey this year. Right away, in the season two premiere, Donna has a great scene with Rachel, with whom she is forming a friendly bond. There may be some friction in future episodes, but for now, it's great to see the gal pals palling.

Suits is good to its female characters. Rafferty likes that the women on this show, Donna included, are strong, multi-layered, complicated, and real. They are not stereotypes. They are not just romantic interests or supporting players. They are every bit as important as the male characters, and will have plenty to do in the upcoming episodes.

Part of this dynamic shift, away from the two-man show that was much of season one, can be credited to bringing in Hardman, whose name is on the door, but has been unseen til now. Hardman is played by the fantastic David Costabile (Breaking Bad, Damages). Sarah says, "Introducing Hardman makes all of the relationships more dynamic. It’s really exciting to have David here. He’s amazing.” But Hardman is also a mysterious character with a past, and his relationships with each character, as well as the power he seeks to wield over them, throws everything out of balance.

How will Donna deal with Hardman's intrusion? Rafferty says “Donna is intensely loyal and brave in her loyalty.” She understands Harvey better than anybody, because she has always worked with him, even before he came to Pearson Hardman. Her loyalty will be tested this season, and “she goes as far as she possibly can to protect him.”

Donna also has a relationship with Harvey's protege, Mike, played by Patrick J. Adams. Rafferty thinks that Donna likes what Mike brings out in Harvey, which definitely colors her fondness for the young man. After all, she wants the best for Harvey, and if Mike can help him be at the top of his game, she is all for it. Plus, Donna and Mike, because of their unique, close relationships with Harvey, can now be confidantes.

It's no mystery to Sarah why people are connecting with Donna, besides her devotion to Harvey, of course. She thinks that they like her wit, and how quick she is. She works in a man’s world, but isn’t competing with men. It's a great, bold character, who certainly stands out as unique in this television landscape.

When asked how much of herself goes into the role of Donna, Sarah doesn't take much credit. She says that many scenes are written with very specific beats. All of the writers have strong ears for the voices of the characters. Donna and the others have been extremely well defined from the first episode. So mainly, she just tries to play what is on the page, saying she has no input into where the character is going. Many will agree, she plays the part quite well.

That doesn't mean that the actors aren't allowed to take risks. Sarah reveals that they are encouraged to improv after they get the script filmed as written. It's a great experience that helps hone the craft, as well as really gets under the skin of the part.

She further compliments the writers with their bravery, especially in season two, where plots move along at a very rapid pace. She says they can stuff a ton into an hour because they have so many other ideas on where to go from here. There is no sense of stretching anything out, or making the fans wait for the best developments. Her enthusiasm is contagious, and if the season two premiere is any indication, the story has, indeed, moved into the fast lane this year.

The question many fans of Suits want to know is, will Harvey and Donna be hooking up? After all, there is definite chemistry between them. Sarah laughs, and chalks that up to her long friendship with Gabriel Macht, who plays Harvey, that spans two decades. She professes that their children are friends, and it would be very awkward for her to play with him in that way. She also thinks it might be a "jump the shark" moment for the show. Many will disagree with that, but she may be right.

Now, Rafferty isn't against Donna getting a love interest on the series, at least one who is not Harvey. Her suggestions for the role include George Clooney and Brad Pitt, which are definitely realistic for a cable television show. Not. But she says, "when that day [to find a love interest] comes, you can be sure that I will be in on the casting."

Sarah Rafferty admits that she would like to be more like Donna. Donna is thoroughly unneurotic, easygoing, and confident, the latter of which is really challenging for the actress. Rafferty admires those traits. Also, Donna is a much better dresser. Sarah says she has learned a lot about how to shop for herself from the costume designer. So on that front, they two may be becoming a bit more similar.

Great insights! Thank you, Sarah, for your time today!

Suits begins its second season tonight at 10 p.m. ET on USA.

If you like my reviews, please follow me on Twitter! Click here for all of my Suits set visit articles! Article first published as Talking with Sarah Rafferty of USA's Suits on TheTVKing.com

Save your "Judgment" for Person of Interest

     On this week's episode of CBS's Person of Interest, "Judgment," Finch (Michael Emerson) identifies a judge (David Costabile, Breaking Bad, Damages) that might be in danger. Before Reese (Jim Caviezel) can figure out the threat fully, the judge's young son is kidnapped. Reese reveals himself to the judge, hoping he can rescue the kid before the judge is forced to throw a case, the ransom that the bad guys demand. Finch is not pleased, wishing Reese would stay behind the scenes. The case is lost, but the kid is rescued, and the villains get arrested.

     "Great procedural" is a term that should be rarely, if ever, used. Procedurals are, by definition, very similar from week to week, as the good guys solve new criminals and try to stop them by hour's end. Even if an individual hour is well made, or most of them are, the same premise week to week finds the series getting stale for regular viewers fairly soon. Procedurals are popular for people bouncing in and out when they have the time, but for regular television watchers, it is very difficult to make one good enough to repeatedly, episode after episode, hold one's interest. Generally, this is done by putting together a colorful ensemble cast. Person of Interest has the odds stacked against it, and makes things even tougher with what is basically a two man show. Yet, Person of Interest is a great procedural.

     The most important element of Person of Interest are the two leads. Yes, there are four main characters, but the central duo are much more important, and get much more screen time, than the other two. While both leads have many mysteries surround them, the series starts revealing things about both immediately, and still maintains many unanswered questions. Emerson and Caviezel are expect performers, capturing nuance brilliantly. Both characters see much more going on in the world, as well as everyday situations, than the average person. Watching the show, viewers will be moved to start to do the same.

     In "Judgment," Finch grows suspicious when Reese asks the seemingly innocent question, "What's good here?" at a restaurant. Finch sees any response to those seemingly innocent words as important clues about his habits and living space. He doesn't want to give Reese any inkling of personal information when not necessary. But in the end, after Reese solves the case, Finch admits to frequenting the establishment, clueing Reese in, but in a small, controllable way. It's exchanges like these that keep Person of Interest highly engrossing.

     "Judgment" brings the other two central characters closer to each other. Carter (Taraji P. Henson) begins to appreciate Fusco (Kevin Chapman) when he helps her solve a murder. Fusco knows the woman's death is connected to the kidnapping because Reese is using him as a spy, but Carter is in the dark. It's a delicate balance, requiring an excellently choreographed dance. Reese must know when to push Fusco, and what to tell him, but also massage the details he needs from the source, without letting Fusco learn too much. The fact that Fusco is able to work both sides, while keeping Carter, an incredibly intelligent detective, in the dark, is fantastic. And it won't last.

     The story in "Judgment" is pretty darn good all by itself. Person of Interest struggles to keep fans guessing what is going on. With a few 'surprise' bad guys already under its belt, the series wisely makes the judge, who looks a good man, an actual good man. But considering that the protagonist is a judge, this provides a particular conundrum, especially when the stakes get higher, and Reese must reveal himself. Having a judge in their corner may help keep Finch and Reese a step ahead of the law. On the other hand, it exposes them to someone in the legal system, something they try to avoid. Hopefully, the judge character will return, and it's anyone's guess, given Finch and Reese's differing opinions, as to whether he will prove a help or hindrance in the future.

     Person of Interest airs Thursdays at 9 p.m. ET on CBS.

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"Problem Dog" causes trouble for Breaking Bad

     The title of this week's Breaking Bad is "Problem Dog." This refers to Jesse's (Aaron Paul) pretending that Gale (David Costabile) is a dog when telling the story of how Jesse kills him, which he does to get issues off of his chest at his Narcotics Anonymous group. Jesse is torn, because Walt (Bryan Cranston) asks him to kill their boss, Gus (Giancarlo Esposito), which he agrees to do. But later, he passes up two opportunities to carry out the plot. It might be wise for Jesse to hurry up and complete the assignment, considering that Hank (Dean Norris) now seems to suspect Gus of heading a drug organization. If Hank catches Gus, it could expose Walt and Jesse. 

     Breaking Bad is a slow burn show that features long, powerful scenes, rather than lots of action. It gives the viewers a chance to really dwell on the characters, and what they are going through. It's a brave concept for television, and not one seen a lot. For it to work, the actors must be top notch. Luckily for Breaking Bad, it features Emmy winners Cranston and Paul. Not to mention, Norris deserves an Emmy, and has been robbed of nomination multiple times. The same might be said for Esposito. So there are a lot of very clear voices making Breaking Bad an absolute must-see show.

     "Problem Dog" gives Jesse many chances to shine. Dealing with grief and guilt for killing Gale, Jesse spends much of his time with drugs and at parties, trying to forget that he's a murderer. Then Gus sends Mike (Jonathan Banks) to pull Jesse out of his downward spiral by making him look like a hero in a staged robbery. This works, giving Jesse purpose as muscle for Gus. However. Although that emotional journey is apparent in prior episodes, "Problem Dog" really lets Paul breathe life into Jesse's whole mental state, and it works brilliantly.

     The aforementioned support group meeting is a powerful scene, but it's the culmination a journey, not its starting point. First, we see Jesse playing a violent video game, with Gale's visage flashing into it. This is not social commentary on how video games can cause bad actions, but rather, more like a PTSD flashback situation. Then Jesse feels accepted when protecting Gus, so he doesn't poison him like Jesse promises Walt he will do. The meeting is Jesse's explosion of his pent up thoughts and feelings, as the earlier scenes allude to, and really explores the character in a very moving way. Killing someone is not as easy as it seems on television. But Jesse might be able to live with himself for it. The question is, is he willing to do it again?

     Will Jesse kill Gus? This is a thought ripe for fan debate. Gus is playing a naive Jesse, pure and simple, but Jesse doesn't know that. Jesse now has self-worth and purpose, which pulls him out of the dark place he is in. Yet, Jesse does seem convinced by Walt's sales pitch that whatever Gus does now doesn't make up for the horrible things that he had done before.

     But then Jesse hesitates to take out Gus. Jesse is not being weak willed and easily manipulated, as much as he might appear to be during some points of "Problem Dog." Instead, he is taking in all the information before he makes a decision. At this point, while the structure of the series points to Jesse eventually trying to murder Gus, likely after lies are exposed, or Jesse's life is in jeopardy, it could still possibly go the other way. Viewers will just have to wait and see.

     As Jesse moves towards stability, pulling himself away from reckless action, and working on a major decision, Walt goes in the opposite direction, his behavior getting more and more reckless, perfectly exemplified by the way he torches a car in "Problem Dog." Walt doesn't even try to be discrete, causing the vehicle to explode, and calling a taxi to come and get him from the scene. Sure, Saul (Bob Odenkirk) is able to negotiate down to only a fine, and keep Walt's record clean, but what is Walt thinking? And, feeling indestructible, he doesn't even care that he got in trouble. That's dangerous. It seems, as Skyler (Anna Gunn) earlier accuses him, he wants to get caught. Why else commit such a blatant act of destruction? The money lost may not be much of an issue, but the attention surely is a big risk.

     On a semi-related note, why is Skyler asked to launder a bunch of fifty dollar bills? Saul did encourage other investments than the car wash, but as someone experienced in illicit activity, wouldn't Saul realize that the large bills would be difficult to do something with? Wouldn't he be helping with a solution, rather than leaving it in Skyler's lap? Saul doesn't want to get caught, and while Skyler does take over this part of the operation, it would be in the lawyer's best interest to help out as much as he possibly can in the illegal scheme.

     Hank is a brilliant character, who isn't very interesting when sulking in bed, collecting minerals. Thankfully, the super detective is not only on his feet again in "Problem Dog," rapidly improving his walking ability, but also already hot on Gus's trail as a meth kingpin. This is a fascinating development for Breaking Bad, and it's now only a matter of time until Hank blows the whistle.

     Hank's extended spiel to his former co-workers in "Problem Dog" is exhilarating and suspenseful. Norris gets a chance to deliver amazing lines once more, as the character almost instantly recovers from being a drag on the series to once more mattering in a very big way.

     How much does Gus continue to be important? From his meeting this week, it's obvious that Gus is not the biggest fish in the pond. With some very, very bad men wanting to knock him out of business, will it even matter if Hank catches him? Will Hank catch him in time to save his life, perhaps? Or will Jesse kill Gus first, opening up the opportunity for these new villains to take over the operation, or for Hank to reach another dead end? It doesn't appear that Jesse hesitates in killing Gus because he is afraid of someone else taking

     Do not miss Breaking Bad, Sunday nights at 10 p.m. ET on AMC.

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Article first published as TV Review: Breaking Bad - "Problem Dog" on Blogcritics.