Right away, Black & Associates is making a strong effort to demonstrate Los Angeles that they remain just as skilled and trustworthy as before, even after the recent merger scandal. Regrettably, some clients have been lost due to the actions of an arrogant individual.
In the storyline, Erica, who is not only the Head of Entertainment but also a partner at the firm, has been tasked with managing Dylan Prior on Ted’s behalf due to his busy schedule dealing with Lester’s murder trial. However, there’s an unexpected hitch: Erica appears unfamiliar with Dylan Prior and seems uninterested in film and television matters. This is quite surprising for a character who worked tirelessly to secure her position as the Head of Entertainment, leading viewers to question her industry knowledge. This plot twist, however, makes Leah, Ted’s bumbling associate, useful within the series narrative.
It seems Leah is deeply passionate about cinema (I’d love to discover her top four films on Letterboxd) and had dreams of becoming a writer in the past. She employs her cinematic knowledge to inform her boss about their new client, even accompanying her to meet the independent film producer who’s causing problems for Dylan with her Warner Brothers project. As for Dylan, she’s not exactly pleased about being handed off to another lawyer, given Ted had promised personal attention to her career. She reaches out to Rick, Ted’s former protégé and currently a traitor and hypocrite, asking him to represent her. However, he can’t due to potential lawsuits for poaching clients, but this phone call becomes significant later on.
Initially, Rick believed he would become Head of Entertainment at Stuart and Samantha’s law firm if he ended things with Ted. However, it was revealed that Stuart couldn’t fulfill his promises. When Samantha, Stuart’s new partner and Ted’s ex, refused to give the prestigious role to a lawyer she wasn’t familiar with, she argued that Rick — a criminal defense attorney — had no authority to dictate how she managed the entertainment division of the firm. It’s hard not to notice the contrast between this pair and the other duo on the show, Erica and Ted, without finding them falling short. In his haste to betray Ted, Stuart forced his way into Samantha’s firm and pressured her into excluding Ted. He remains the guest, the one who must work harder to prove he deserves a place there. The twist here is that it was his insecurity that led him to betray Ted initially, and now he finds himself in the secondary role again.
if Rick wishes to become Head of Entertainment, he must secretly acquire a high-profile celebrity client from Ted and demonstrate his skills to his new supervisor.
In a straightforward manner, Rick agrees to the contest but given his reputation as the show’s strict adherer to rules (which might make some folks queasy), he heads straight to Erica, who’s facing an impasse in Dylan Prior’s contract talks. He suggests she sign a waiver, ensuring a fair competition between them, determining once and for all who the superior lawyer truly is. It’s during this discussion about Dylan that we discover (yuck) that Erica and Rick have had a past romantic entanglement, an affair that disintegrated due to Erica supposedly lacking respect for Rick or his professional approach.
A significant aspect that drew us to the original series involved witnessing numerous attractive, proficient characters in stylish attire engaging in romantic entanglements while navigating complex legal matters. The repercussions of their unconventional love affairs added an element of disorder to the already intricate legal proceedings they were dealing with. From Mike and Rachel to the prolonged build-up of Harvey and Donna’s relationship, it became evident that office romances are not exclusive to any one person. It seems that Aaron Korsh grasped this concept but perhaps overlooked what truly set those relationships apart: their onscreen chemistry.
To put it simply, Erica finds Rick too cloyingly agreeable, which is quite the opposite of her own strong and principled nature. Despite her tough exterior, she is quick to admit when she’s wrong and treats others kindly. This was evident when she declined an offer that Rick eagerly wanted from Stuart, and later in her interactions with Leah. Conversely, Rick seems to suffer from a ‘good guy’ complex, believing he’s morally superior due to his overly nice demeanor. In truth, he is just as self-centered and career-focused as everyone else. If no one dislikes Rick, I would question if there’s life on this planet!
In the realm of cinema critique, I must admit, it’s a joy to witness such an intriguing dance of power plays. As our protagonist, brimming with confidence, marches towards the producer with Dylan’s dismissal on his agenda, only to stumble disastrously. Erica, sensing this opportunity like a hawk, swiftly capitalizes on Rick’s mishap, choosing to bypass Leah’s script discussions in favor of orchestrating a strategic dinner with the producer under deceitful pretenses. She subtly hints that Warner Bros. is willing to compensate him for releasing Dylan, thereby keeping Dylan as a potential asset for press during the indie film’s production days.
Although her contract may prohibit additional filming, Erica cleverly decides to utilize her time by relentlessly promoting the studio instead, effectively trapping our protagonist in a web of inconvenience. The sense of entrapment is palpable, and he’s well aware of it.
Erica: 1. Rick: 0.
In the case of “Suits LA,” a last-minute resolution, much like its signature grey suits and sharp dialogue, is as integral to its makeup. Somehow, Rick orchestrates an agreement that satisfies all parties involved, even baby associate Leah’s boss was about to propose. Interestingly, Rick has been elevated to the Head of Entertainment at his new firm, though I couldn’t care less.
As Erica pursued Victoria Justice, Ted was grappling with devising a strategy to protect Lester during his murder trial; Lester’s producer stood accused of killing his partner. In need of assistance, Ted sought the aid of his ex-partner, Kevin, encouraging him to uncover any information that could potentially harm Lester in court. Interspersed flashbacks reveal snippets about their past and the case that continues to torment Ted – a case he feels compelled him to transition from a respected prosecutor into a “glamorized agent” like Samantha. This issue escalates into an argument between Ted and Samantha, culminating in a heated dispute following a night out at a comedy club, where they watched one of Samantha’s clients perform subpar impressions and poor crowd work. At this juncture, the fractures in Ted and Samantha’s relationship are evident. In an effort to apprehend the mob boss, Ted is operating outside the law, even utilizing Samantha’s client to deceive another gang member into testifying against him. (The comedian imitates the deceased witness we saw explode in episode one, causing immense fear in the bomber, who ultimately agrees to cooperate with federal authorities in exchange for providing information on his boss.)
As a cinephile, I can’t help but admire how this narrative vividly portrays Ted’s character – a man who unwaveringly trusts his instincts and is ready to forfeit everything in the name of justice. His actions border on the vigilante side, which is quite intriguing. However, I do hope the writers will soon move past the influence of Oliver Queen from Arrow.
Ted’s unwavering belief in Lester’s innocence is a testament to his gut feeling, the same intuition that made him a renowned prosecutor. Remarkably, he seems unfazed by the mounting evidence against Lester, such as the discovery of supposed financial misdeeds by Lester’s partner. This stubbornness in the face of damning evidence is puzzling to some, including Kevin. After much persuasion from his friend, Ted finally concedes, but not without a heated argument first.
I must admit, I wouldn’t mind if Kevin decided to stay at Black & Associates for good. He’s particularly skilled at challenging Ted’s antics and keeping his pride in check, unlike Rick who tends to be too lenient. Moreover, he possesses competence without being a difficult character, which is quite rare among the staff there. In fact, he manages to hold one’s attention more than what might be expected. The duo of Kevin and Ted make an effective team when they visit Lester to gather information. They employ a good cop/bad cop strategy, pushing Lester until he confesses that yes, he did withdraw funds from Stuart’s account, but it wasn’t as it appeared. His partner was the actual thief, secretly diverting half a million dollars of production money into their own account. Lester claimed he was trying to do the right thing by returning the stolen money: every time he submitted movie expenses to the studio, he would withhold some receipts from the stack, causing the studio to overpay him, effectively repaying the stolen funds. However, this arrangement still seems highly questionable, as it should. Nevertheless, Lester insists that he has started paying back the embezzled money.
In a straightforward manner, Ted queries Lester directly if there’s anything else that might incriminate him in court or make him appear guilty. With a cold gaze, the suspicious-looking producer denies it. It won’t be long before we discover the true extent of his unreliability on this show.
The District Attorney handling this case is fiery and relentless, with an insatiable hunger for victory and imprisoning criminals. Her determination to bring down anyone she views as a wrongdoer shares striking similarities with Ted, a tenacity that will cause him trouble. Initially, she proposed a plea bargain for Lester, which would result in a decade-long sentence, but he refuses it, though it no longer matters due to new evidence brought by the DA. This evidence, discussed at Black & Associates offices, reveals a connection between Stuart and Lester’s wife that makes Lester’s motive for shooting his partner clear – something he neglected to share with his lawyer. The DA leaves Ted alone in his office and encounters Amanda, sparking an immediate tension between the two women who clearly dislike each other intensely. We discover that a client of Amanda’s died in prison due to a call made by the DA, a decision Amanda has not forgotten or forgiven. In truth, her self-satisfaction is difficult to bear, leading me to hope for her eventual downfall.
The final scene implies a commitment that could be better defined as a warning: Initially, Lester’s court case seemed unrelated to Amanda, but now she informs the District Attorney that she will take every possible step to ensure Ted emerges victorious.
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2025-03-03 07:56