Errors & Omissions

Are we recording? Should we dive in? No, I'm gonna do my warm-up. I'm sorry, I'm gonna do my warm-up. Sorry, I'm gonna do my warm-up. Unique, New York. It's your. New York Unique, or is it just mine? All right, let's get started. Hi there, I'm Patrick Adams. You may know me as Mike Ross on the TV series Suites. And I am Sarah Rafferty, and you may know me as Donna Paulson on Suites. You are listening to Sidebar, a Suites Rewatch podcast, actually a Suites Watch podcast, because Sarah and I have never actually watched the show that we made. You know, each week we're gonna talk through an episode of this TV show, and we're gonna do our best to remember stories from in front of and behind the camera. We're gonna compare notes, some memories. We hope to answer some listener questions and talk about the music and talk about the clothes and talk about dazzling performances. We're gonna talk about it all. Yes, can't wait. But first, I just wanna say hi, 'cause this is a very special episode of our podcast, because we are not in the same room for the first time. We are magically remote. Tell us where you are, Patrick. Right now, I'm in Glasgow, Scotland, been here for a little over a month now. The people wanna know, did you eat any haggis? I have, I had haggis just two nights ago. What's it like? I've had two, I'll tell you this, I've had two haggis experiences. The first one wasn't great, and then the other night I went down to an amazing restaurant here in Glasgow down the street. I'll brutalize the name, but I think it's bothy, bothy, and we ordered the haggis, and it was phenomenal. What's it taste like? Don't tell me it tastes like chicken. You wanna know the truth? I don't know what haggis is. I have purposefully avoided. Oh yeah, no, okay. You know what I mean? It's one of these meats that. I'm not gonna tell you. I'm not gonna be that friend. I think it's one of these things that you mix with a bunch of other ingredients, so I don't even know how much you're actually tasting the thing itself. So it's not like a pretty little sack of something like on your plate. It looks mostly, it's like, it looks like a tartar. Oh, really? Do you know what I mean? That's kind of a, it's almost like a thicker tartar. I'm out. Oh god. Oh god. Oh god. No, please. Are you a pate person? Oh god, no. Me neither. I'm here. Me neither. How are you? How have you been doing? I haven't seen you in so long. I'm good. I'm really good. This weekend, I had the great honor of being an MC at Agala in Northern California for an organization called Part the Cloud, which works with the Alzheimer's Association. So I put on my big girl panties and I was an MC and talked about our family's experience with it and then I got to fan girl because John Batiste performed. Oh, wow. He's amazing. He is a magical being who is amazing, uplifts spirits, conjures spirits, what a perfect person to have at an event like that. That's incredible. Yeah. It was really amazing. That's amazing. Good for you for doing that. I think I saw a picture of you looking like $1 trillion on Instagram at this event, right? You posted a picture. You're so nice to me. Thank you. I can't wait to get you back in the studio so I can look at you in the flesh and tell you how handsome you are. I've also been incredibly sick this week, incredibly sick, but I'm feeling a thousand times better. So did you eat haggis after you had a stomach bug after like were you like, and I'm now going to go get some. Good question. I did. Oh, God. I did. I know. Can you believe it? Oh, my God. I wanted to bring that up because that was the context through which I was watching this episode. It was sort of just as the fever in the bug was subsiding that I got to sit down and really dig into the episode we're here to talk about today. I hesitate to say this, and I know it's going to get edited out, but there's a couple places that I found pretty sexy in this upcoming episode. And if I say that too many times and people start to get really uncomfortable, we can just edit it. So I'm going to say it each time, but I expect it to potentially go away. But there was some sexy bits. I can't wait to find out which because I'm I'm I'm racking my brain to try and figure out what the sexy bits are. And spoiler alert, Patrick, I don't know if you noticed what this show is delightful. It's good. I'm really having a really good time. It turns out the show that ran nine seasons is good. I am not surprised, but I'm just delighted, especially we're so early in the process, but I'm like, this show for the second episode of a show, which I believe and we'll get into this more as we get into the episode, but this was actually, I think the third episode we shot. And they reversed the airing of it, but it was the fifth episode we shot. No. And it was written as the third episode and they moved it up to the second episode. And that's a lot of really hard math for me, but I know it's a fact I've ever written down. I spoke to Aaron Corsche yesterday. It was the fifth episode we shot. It was the fifth episode. And it was so good that it got bumped to be our second episode. And it totally, absolutely makes a hundred percent sense. That's brilliant. I didn't know that. Well, it makes sense, right? Because you want such another strong episode out of the gate. So it'll be interesting now when we get into three, four to see what those are. Yes. Let's talk about this episode. Let's get into it. This episode is called Errors and omissions, original air date June 30th, 2011. Here's the brief. While working on a patent case, Harvey discovers the judge thinks he had an affair with his wife, despite Harvey's best efforts to keep his personal life and his work life separate. Meanwhile, Lewis Blackmail's mic into snagging a high profile, cool client, causing Mike to learn to stand up for himself. The episode was directed by John Scott, a lot of love for John Scott. He shot, I think, five episodes of the show total. John Scott, absolutely crushed it. What a gentleman he is. And I think he had a lot to do in those early seasons of establishing the, the vibe of the show. It's a different thing. And this was a big thing I went into watching this episode because it's a different thing to shoot a pilot, you know, big creative adventure. You have more time. You kind of have, I think, more money, you know, slightly more breathing room to kind of figure out things and what the vibe is going to be. And then you go away for months. Do you know how much time went before we came back to Toronto? So I know that we shot the pilot in October in New York. And then when we got back to Toronto, I believe it was, as it always was, April. It is a long break between, hey, we shot a pilot. Is it going to get picked up? And if it does it, then get picked up, when are we starting to shoot and wear, right? We didn't even know it was going to be in Toronto at first. I didn't know anything because remember I, it wasn't contract in the pilot. So I remember Gabriel told me it got picked up. I think when we were in a grocery store with, like, our kids and spouses, I was like, what, where are you going? And you guys were just like out having a shop together and he told you, I think, yeah, like our kids were having a play date. I think we needed to go to the grocery store and we were going up and down the aisles. And I know it's so random. Oh my God. That's fascinating. Anyway, back to the episode. Yeah. So I'm interested in kind of all these first episodes because it's, I mean, I had shot pilots before we talked about it, so I had never been on a, on a series that before. So now we're in Toronto and we're learning how to like, kind of crank this thing out at a completely different speed. So it was interesting for me to watch this episode. And I'm curious to keep an eye out in the next two of the ways in which the show is sort of becoming its new version, rather than what sort of almost felt like a film in that pilot episode. Yeah. And when I was watching this episode, I think the thing that struck me is the tone of this show, which we went through many iterations over nine years of the tone shifting from time to time. Like we had eras, like Taylor Swift and this, I'm struck with the lightness of the tone of this episode. And when I spoke to Aaron about it, he was like one of the reasons that this moved forward. There are many reasons that it moved up in the lineup, but was how it established Rick's character. Comedically, the iconic Lewis lit. Did you guys, when you, either when you were doing a pilot or when you transitioned to beginning the season, were there a lot of conversations between you guys about tone because everybody got in the same world very quickly, which I don't think is always necessarily a given that that's successful on a show. Obviously, we have script to tell us. We always have the script to tell us what the tone of something is, but people interpret scripts differently. So do you remember that? Yeah. Kevin Brad was Kevin Bray, who was our producing director for this entire first season. So like for me and Kevin is one of my favorite people on the planet. But I think he was also, you know, if Aaron was the father of this thing, then. Big daddy. Kevin was the mother or the other father he's giving mother. Kevin was, you know, equal parts involved with creating the vibe of the show, the look of the show. Well, Aaron was not with us the whole first season in Toronto, which was another big transition, right. We were used to having Aaron on set. And if we could make Aaron laugh, we knew it worked and we could move on. But now our, you know, the guy in charge is in another room in Los Angeles. But Kevin Bray was with us in Toronto and he was able to, and I think he did an excellent job of doing everything he could sort of port the vibe of the pilot and what made that so special and make sure that that thread ran sort of seamlessly throughout this first season. Yeah. Let's, let's before we dive into. Let's talk a little bit about Sean Jablonsky. He's the writer of this episode. He wasn't just a writer. He held this interesting position as sort of co showrunner. You know, Aaron was in charge of this show. It was his creation. He came out of his head. But the role of showrunner is a really complicated thing without getting to into the weeds. You know, you're not just writing scripts. You're in charge of, you know, overseeing some of the editing of the episodes as they're coming in. You're outlining other scripts. You're basically like the master commander of the whole thing and you have to have, you know, fingers and multiple different pies doing different things at all times. It's a crazy, crazy job to do. And because of that, if memory serves, Aaron was not allowed, I don't know if that's the right word. He's not allowed to be a showrunner the first year. And that's not uncommon. And is like, if you've never done it before, they don't just let you become a showrunner. They pair you up with somebody who's had a lot of experience. So Sean Jablonsky had had a lot of experience. I'm thinking nip talk. And I think it just speaks to like how much fairy dust was sprinkled to kind of create the alchemy for this long running show that all these people came together. I watched showrunners, the documentary showrunners, which I hardly recommend to anybody working in this business because it really gives you such a great example of what. How many hats the showrunner is wearing? And I think it makes you a better actor, director, writer, producer to just have an understanding of what the process is and what is going on with people. And in many ways, it made me like afraid to ask Aaron anything because I never wanted to bother him. Anyway, I digress what to do all the time. Let's talk about how this show opens. We have the cold open. We open on an air hockey game between Mike and Wyatt and then Harvey enters. But tell us about Wyatt. Let's talk about Wyatt. Let's talk about Eric Layton. I have an audio recording from Eric Layton right now. I have no idea what it says and hopefully there's nothing inappropriate in it, but I'm just going to play it. I hope it's super inappropriate. Hey, Patrick, hey, Sarah. First of all, this is so cool. I'm so happy for you guys. As far as my time on suits, here's what I remember. I remember vividly how loose and comfortable you guys felt at such an early stage in the process. And I remember that being something that stood out because you and Gabe, Patrick had just such a great chemistry. And I remember saying to myself, man, this is early for that, for them to feel so comfortable in these characters, having been somebody that's been a part of series and knowing, as you guys both do, that many times it can be this kind of like slow build into that because everybody's kind of trying to figure out what they're doing with their own character at that point. So I remember that not being the case and having a great time with you guys. As far as my character, I remember them calling and saying, hey, episode of suits, he's kind of like a Mark Cuban, like a young billionaire, and he invents this phone. But honestly, that's as far as my memory of the character itself goes. I remember my hair was like straight up, but I looked crazy. Anyway, I hope that helps. Really pumped for you guys. Patrick couldn't be happier for you and and all your success. And Sarah, I can't wait to listen to the podcast. And take care. Good luck with it. All right. Bye. What a munch. What a sweetheart. Wow. And he plays Y at the billionaire as he said in this episode. We know each other. Actually, we went to school. That's partly why we're so familiar we went to USC together. And then we also shot the right stuff for Disney Plus many moons later after I left suits. So it's very cool to see him up front. You know, he's the kind of guy who's just out there crushing it all the time. So we were I think very lucky to have him so early on. I love that you keep like orbiting each other. There's something. Something there meant to be. I love story for the ages. I do have a thing that right off the bat from this episode and I don't know if you were feeling it. And it's not a critical note, but it is just a note note. Is Harvey's hair? Do you notice anything going on? I don't know. I think first of all, as always, Gabriel Mock looks extraordinarily handsome and suave. He looks great. But his hair. So this is not me throwing a stone because I got some hair issues. But it seems a little snap on Lego hair. It looks to me. I was getting like Jude Law from AI files. Okay. Yes. See handsome, but but style wise and insanely beautiful. But yeah, it was it's like so structured and I didn't spend a ton of my time keeping track of Gabriel's relationship with his hair at the time. But I do remember him feeling like for some reason we couldn't figure out the hair. So hopefully when we get Gabriel on the show, we'll be able to talk to him about his hair journey on suits. I remember there was like a time where it was like it looked really great and natural and easy in the pilot. And then I think there was like a growing pains section here in the first season. And for some reason that became that just looked really clear to me in this cold open at the beginning when he came in. That kind of stuff has to do with like notes, sessions going on. I think always like studio, somebody at network somebody called this and then they call in the hair department and then the head of the hair department has a thing. Oh, yeah. And then you've got like 15 people talking about your hair. It's telephone and it's nobody understands what that actually means because you've got somebody who's talking about hair who doesn't do hair. And then it just turns into a thing I can't believe I'm going down a rabbit hole on this right now. I'm going to stop myself. There's nothing and they wonder why actors are crazy because you have to sit there and watch like 15 people talk about your hair and send notes back and forth to a different city. It's a good tool to transform, but sometimes it transforms you in a direction that maybe is just imposed, super imposed like Gabriel's AI, super imposed hair. He did it. I kind of liked it though. I got to say I kind of liked it. Also, I have to call out. I think you and I both noticed we've decided we started doing something on this which I'm really into, which is we just start screen grabbing from the episode like funny screen grabs. And one thing we both screen grabbed I believe was this very strange phone prototype. It goes by in a flash. He takes it out of a pocket, Harvey kind of like wags it in the air and then it disappears and you can tell no one wanted to put a camera close up on this thing because I don't know what it is. It's like a folded piece of cardboard that looks laminated. You know, and this is not to call out any props, people or whatever. Sometimes you just got to make a thing work. But I did have lots of questions about what this phone prototype was. So what happens is we learn that why it is a computer engineer who invented a very valuable prototype that a big company wants to buy. But I want to say that we open, so we open on the air hockey table. And within the first few seconds, I am so super into how little of what is going on that I need to actually understand to be totally all in on this episode. Because all I know right away is that there's a dude who works in like a questionably professional work environment, like it looks like sky zone, like he actually works at sky zone. But he's a billionaire. He loves air hockey, which yes, please, I wish I had air hockey. So he has this weird prop. It's a satellite phone that fits in your pocket. But hang on a second, what year are we in? I mean, how old are we? We're talking about a satellite phone that fits in your pocket, isn't that? No, that's not that crazy. What? Do you use satellites now on our phones? Don't things ping? No. Okay. You want me to break this down? You want to go tech support? You want to go genius bar? Is the genius bar open? Patrick? The only of the most recent iPhone had an actual satellite communication protocol on it, which is really just used in an emergency situation. So if you got lost in the middle of death valley or something and your phone didn't have any reception, you could actually send a signal to a satellite to an emergency responder to find you. That's like brand new. That's just happened. Well, all I know is the scene is played with high stakes and I'm in. I just know how I'm supposed to feel and nothing matters except I'm in. I hear billions, millions of dollars. I see suits walking around. I'm charmed by three lovely men. Harvey's there. This is important. Yeah. Important stuff is happening. We're playing air hockey. Things are happening. Okay. And then we have this walk and talk to a conference room and Harvey is not going to let Mike into the meeting because Harvey wants Mike to go and file a patent and there is a great line there, Patrick, that I think you really like into the room with the people. I just love that version of Mike. I love. I don't know. What do we call it? I think it's still that Michael J. Fox. We talked about last time. It's a little like a little bit of Michael J. Fox. I'm going into the room with the people. Okay. So that moment fairly quickly segues into a line. Isn't this our time, Mr. Hand? I had to look up. It's from Fast Times at Ridgemont High. You had to look it up. Yes. Did you have to look it up? Yes. I'll tell you the same thing when I had to say it when we were shooting it, like because it doesn't say in the script, this is from Fast Times at Ridgemont. I read it, I was like, I don't understand this, but I'm going to have to do an impression. I'm going to have to do a movie quote. I don't even know what this is. And I'd seen Fast Times, but it just it hadn't like lodged in my head the way that other movie quotes do. Okay. Well, I went and looked it up on YouTube and it's slightly different too, but it's just like a little bit different. You know, I've been thinking about this, Mr. Hand. If I'm here and you're here, doesn't that make it our time? But isn't this our time, Mr. Hand? Let me ask you this. My performance is better. You're probably absolutely than Sean Reins. Oh my God. Yeah, yeah. For sure. A million. Okay. But let me ask you this. Please. If you don't know that that's a reference, as we both did not know, two Fast Times at Ridgemont High, don't you think the audience is left feeling pretty weird for a couple of seconds when Mike says, but isn't this our time, Mr. Hand? I mean. Yeah. That's how I felt when I was doing it. I was like, Aaron, is this as no because I feel like I'm pretty good with movie quotes. So I was like, is this me? Am I missing this? Or is this like as well known a quote, it's like you think you seem to think it's like really well known and I was worried like no matter how I do this. I don't know if it's going to land, but you know, the fun part is you never know. Yeah. Yeah, you never know. We want to hear from you fans. Now the first time you watched this that that it was from Fast Times or did you just wonder if Mike was having a stroke? No, I knew I was like, I think that's obviously like a quote from a movie. I don't, I'm not placing it, but I know I feel weird and I know I like feeling weird and I hit my hat to the team who decided like, yeah, there's going to be a minute here when people don't know what that is and that's awesome. Is this one of those sexy bits you were talking about? You know what, yes, I felt like I was in a moment that I maybe ladies and gentlemen, she's taking her jacket off while she's talking right now. She's getting hot. It's getting hot. I felt like I just feel awkward. My friend just said a thing to my other friend about Mr. Hand and I feel like I shouldn't be here. Yeah, it's a great little scene, we're into the, you know, we know we're heading into like meet of this episode and what they're doing and Mike's not invited to the big kid table and I think that that's, I don't know, it's just a great set up more kind of a way at the races here. So then we transition and we have a shot of taxes in New York buildings. And I just want to talk about transition music here. I call it kind of like a funk light transition. We're doing, it became something that grew on me over time, but I find it tough. And I also laugh because I think I heard Kevin Bray once refer to it as James Brown learning to surf in that way that day, that way that Kevin, it's like James Brown learning to surf for something. Yeah, I'm going to bow, check a bow bow into the next scene, which is over at the office. Here in Pearson Hardman for the first time, it was so cool to drop into this only because for me, I immediately went to what we talked about before, which is like we're now in the set, right? We were in the building in New York, we were shooting in a real building going up to the actual whatever 65th floor to shoot all that stuff. And this is the first shot in the series that we're seeing the incredible set that was built for us in Downsview, Toronto, Ontario, Canada. And I felt like this was a good time to call out our production designer on season 1 tomorrow at Devarell. She wasn't on the show for very long, but she was phenomenal. And she did an incredible job. I think we were so lucky to have her to see these sets in person that I was just blown away. Yeah, I thought I was always really taken with the view that we always just that you felt like you were however many stories up. And you know, you could look out the window and see something new in that shower curtain that we had that was essentially the view. I did get a little bit of heat, funny heat from fans of the show when I did like a set tour where I showed the curtain in press, I think it might have been on something like entertainment tonight or something like that. And people were like, you blew it for me. Like, why did you show me that? I would get into trouble when I'd post all the photos. Honestly, to me, it was such a celebration of these people, these like artists, these incredible artists that come in and just do this work because it's so transformational and it makes our jobs so much easier because we step onto that set and we are on the 65th floor of a building. Yeah. Right? Like, it just, it doesn't matter that I knew that that was a backdrop. And what Sarah's talking about, listener, is there's a huge scrim that goes around the entire office building. So when you're looking out the window, no matter what direction you're looking at, you're seeing all those buildings, that's honestly just a giant photograph that's sort of been stitched together and it's, you know, 45, 50 feet tall attached to the ceiling, goes around the whole set. I just think they did an amazing, amazing job. And it's, you know, the set that we spent many, many years shooting on. So we're there and we go right into Rachel's office where Mike tries to ask Rachel for help in filing the patent. And this is a tiny little scene and I loved it, a couple of reasons. First of all, Mike barges in and Rachel is clearly very, very, very, very busy and she shushes him with one finger in the air while she continues on with her work. But what I think is amazing is that Mike takes it in notices, pauses, and then barrels ahead and just starts to talk. And she gets up and usheres him out wordlessly. And I think it really sets up Rachel as a total baller, I loved it. I also loved that we very rarely did things wordlessly. It didn't really become part of the show because the show became very, very verbal, it became a very verbal show. So to have these moments that were played without words are really a nice kind of fun counterpoint because it's something different. But I wanted to ask you like why Mike didn't really read the room. You're right. I love that in the pilot Mike has relied on Rachel to solve problems for him. And so there's this assumption that he's coming in and she's got a, I got a new problem that I don't, I don't know how to file a patent. So you're going to need to teach me how to do that. And this scene establishes very clearly. I am not going to be the solution to all of your problems at this office because I actually have my own job. I think I'm available to you at all times at all moments. But let me just very clearly and gracefully establish the boundary and it's this door. So from there we go into the break room and we meet Gregory Boone, a very talented John Boyd who says he might be able to help. I seem to have a memory that they were trying to find one guy that could be a sort of foil for Mike the whole first season. And I don't know if it was a scheduling thing. Okay. Like maybe they couldn't get one person to do multiple. So I think I remember now, and it'll be interesting to watch all these episodes, but I think that's sort of the reason there are multiple good looking young guys in that bullpen who are sort of messing with Mike and trying to outdo him. So then Rachel gives him the print room card and says that Greg is called him a sucker. And we walk into the room and we see multiple printers printing thousands of pages that now Mike is going to have to do his Mike brilliant brain thing. And that's the end of our cold open, a good place for us to take a break. When we get back, we're going to talk about seeing our opening credits for the first time. We'll get to talk about Curry Graham, which is a great job in this episode and Sarah. I think we're coming up on one of my favorite scenes. I can't wait to talk about it. I can't wait. All right. We'll be right back. All right, we're back from our break. This is a big act. Yeah. I'm very excited to talk about this. This is, there's a lot of powerhouse in what we're about to get into. But the thing that's most important is this is our first experience of the opening credits of suits. Did that the song that was definitely written before suits, but dare I say timeless green back boogie by Alex Ebert, Alex Ebert's been a, I'm a big fan of Alex Ebert. He's been a member of a number of different bands. I believe green back boogie was a song by I'm a robot. He went on to, of course, be an Edward Sharp in the magnetic zeros. How many times have you heard green back boogie, but it always feels exciting. It's like, oh, now here we are. It's literally the perfect choice. And so, of course, I went back to the pilot and was like, is it in there? Did we see it here at the first time? It is not in there. It is here at the second episode and actually, in fact, you know what? We have a question from a listener about about green back boogie. Yes. We do. Niels from Germany asks, I was wondering when the first time you heard the intro song was. Was it on set or while watching the episode when they were all finished? I think you could have done that in an accent for extra points, but I'll ignore it. I think the first time I heard the song was when Kevin Bray, our fearless leader, a director of the pilot and he was our producing director. He pulled me aside when we were doing like test shoots, camera tests, when we first got to Toronto and he played it for me then because he was a friend of his. He's like, I guess, Kevin's friends with everybody, but he knew Alex Ebert and I don't know how he had gotten it hooked up, but someone had sent him that song. What did you think when you heard it? I think I knew instantly. I was like, instantly, that's so cool. It's cool. I mean, Alex Ebert is an incredible musician. It felt like the show. We didn't know what the show was at that point, but it felt like whatever it was, I wanted to be on that show. I love that you have that memory. It's such an important part of the show, obviously, sets us up. We want to have a sort of weekly green back boogie award for Best Needle Drop and I think we know that, especially for this episode, that is the winner, Bar None. Okay, so when we come back, we're outside the law office. We're actually at the coffee cart in Harvey asked Mike about the patent filing and he tells Mike, if it's not done and on his desk, he's going to feed him to Lewis. And I was tickled to see you guys know that you're on Bay Street, right? I mean, you're outside of 777 Bay. Yep. That's our building. I was not wild to see that because that yet again, this is how I felt seeing us on the set. Now we're on our outside set where we spend just countless hours down there on Bay Street. So the corner of Bay and Adelaide in Toronto. And do you remember the experience of what it was like to shoot the show early on? And to be down there and everyone just hated us, like everyone was just, you know, when you're shooting a show and nobody knows what your show is, it's just like get out of my way. What are you guys doing? It's such an inconvenience. Yeah. And everyone hates you and people are yelling at you and honking their horns when you're trying to shoot a scene and you're just in the way. Think about the ADs and the PAs who have to say, sorry, sir, can you wait or can you cross the street and cross over there? All that they have to do. Yeah. And you're just like, no, this is where I work, like get out of my way. It's like being a telemarketer, like it's a terrible job. Like nobody's happy to hear from you. So season one, we go from being just hated in this corner because we take it over, you know, two or three times a week, cut to, you know, when I left season seven, I mean, you can share your memories of it, but if we set up to shoot a scene down there every time we'd have a crowd of two, three hundred people who, you know, the minute they saw a setting up, there was like suits is shooting, suits is shooting, and we would have just like a crowd of fans there to watch the show. And it never got old. It was always a delight and pinch me moment. Yeah, yeah. I mean, I have one particular memory of, you know, crossing the street and meeting a young woman and her mother and she was studying to go to law school and having the most beautiful conversation with them. And I just want to say, like, if anybody is listening to this who showed up to just give us a wave or a what's up, it was really meant a lot. Like I'm feeling kind of emotional talking about it because it was really such a highlight of being in Toronto, being in Toronto was a huge part of this experience, being like raptors fans and jays fans and composting and all the great things about that city. Or really, really mostly guys mostly the costumes, like the bike lanes, like it's a very special place where I was born. Yeah. So the next little montage that happens, I'm going to affectionately refer to that montage as the ASMR montage. If you give it a listen. The first of many. I don't know. Like, it was literally like the sound of a post-it note coming off. There was like the click of the highlighter cap. And it's so weird. I don't have a lot of memories of the first of this, you know, this is a while ago. But I have such a clear memory of shooting this montage. I remember being like, I love this. I live for this. I was like, this is like, I want to be on the show or I get to be the guy like scratching that and putting the posted on there and putting the pen in my mouth while I have to do the thing. So then you, Patrick, are caught as Mike with that highlighter cap in your mouth. When Lewis finds Mike doing Greg's work in the storage room, love this scene. And I loved how Rick slithers in there as Lewis to be like besties and approachable and relatable and immediately as a viewer. You're like on edge like, oh God, I can't wait to see how this goes wrong. So good. It's insane. I mean, I'm going to say it 100 million times while we do this. This is actually we have a fan club. Our t-shirt should be Lewis lit fan club t-shirts. It's like, it makes me angry how talented he is. It's a talent crush. I just don't know. I don't know how he does it. And I love seeing Mike, you know, again, it's funny to think how much we loved that scene with Mike and Lewis from the pilot and realizing like, I also just love Mike and Lewis. Yes. It's a great dynamic. Like, oh, here they are together again. And I love, I just love this dynamic of Mike who has no real power here. And he sort of has to answer to this guy, but he's also doesn't because he's got a fan of Harvey. It's just a really interesting dynamic that I'm already loving watching. And so then Mike finds Donna at her desk in hopes that she's going to lie about when he delivered the patent. It turns out she will not. I love this scene. I love your ability to tell me so much with so little in these early episodes, you know? We don't get a long time with you. We don't get to do much with Donna, but I learned so much in this sequence. I think we just really learned in the scene that Donna really likes to say no. She does. She really relishes the opportunity to say no, but I want to ask you one question. Like, forgive me. But why was this moment between Donna and Mike strangely sexy? I'm confused. I mean, look, we have to talk about it eventually. It's just a strange sexual tension between Mike and Donna. There's like a weird power dynamic thing that like he's getting leaned into in a funny way. Maybe it's because he's like a young Harvey, you know? He's like baby Harvey. And she's saying yes. And then she's saying no. But they like lean in. It's like a come here, come here, come here, come here, get away, get away, get away, move away, come here, come here, no, stop, stop, stop, stop, stop. Anyway, the hair is really hard to deal with. Let's move on. Anyway, we cut to Lewis's office. Lewis tells Mike that he's always looking for the next young attorney to invest in one of my all time. It might probably has to be my favorite line of the episode. Let's take a listen. It's amazing. I mean, I really, really seriously appreciate that. Hey, thank you, Lewis, that's nice. You know that I pick a pony out of the herd every year, don't you? A pony? Yeah. Somebody who shows potential, stamp my own little brand on him. Are you that pony, Mike? Oh my god, I rebound that so many times. What am I learning as an actor? You know, I, what I'm realizing is watching this is going to be also an acting class for me. But what am I learning from Rick Hoffman is like just how quiet you can be. I mean, Rick can be the biggest actor in the world, he can go so big and then he can just play it so small. And the key to that is like the groundedness is that it's still truth telling. Like you can get as big as you want as long as you're telling the truth, you know, and he always was. And he knows when a line is funny or it's funny as version if you just whisper it. Watching this scene, this was the first time that I started really wondering what happened to Lewis as a child. So then where do we go? Well, Harvey tells Mike the patent was denied because someone else filed before they did. They go to the court, but the judge, amazing performance by Curry Graham is unreasonably tough on Harvey. First of all, before we even get into that scene again, for me, this brought back some very painful long nights because before in this first season, we didn't have our own courtroom. And so as soon as we, I saw these characters walk through into the court, I got this like weird feeling in my body, like sense memory of how horrible it was to shoot courtroom scenes in the first season because we didn't have a courtroom. And so we could only shoot after six PM on a Friday. So if we had a big courtroom scene, that meant we were not even getting to work until six or seven PM on a Friday night and we were shooting until the sun came up on Saturday. We were there all night, which we did all the time in the first season. We were constantly shooting until Saturday morning. All the time. So we cut to the court and I realized like, I'm out, I'm out. I'm like completely out. I don't know anything about what's happening, but I am so into what's happening. What I realize is that I'm just invested in these guys. So after Harvey gets fined, he looks at the opposing counsel, like he's going to giggle. And I love this. I love this way, this lightness that Gabriel is playing Harvey with. And then we cut to the thing that I refer to as the lots of the looks where everybody's flamix. The lots of the lots. Yeah, like the lots of like a lots of lots of lots of lots of lots of is like in committee Adele, Arte. It's like the funny. It's a funny bit. A lot is a funny bit. Oh, oh, do I send it to him? We're going Del Arte right now. Okay. No, no, no. Oh, I got it. I just needed a refresher. I know. I don't want people to know what we are. We are not. There's no way we're cutting this. You just used lotsy, like it was like, like a just a known thing, you're just throwing it out there. Shut up. Genius bar. Shut up. Air pod guy. I'm going to go do a quick poll of the people of Glasgow. How many of you a lot see? You knew about satellite phones. I got to Google. Okay. So we have different nurseries. Okay. It's a comedic bit. It's a comedic bit. Yeah. I get it. So everybody's flamix. Nobody knows what's going on, but something's going on and Harvey is amused by it. And it's just a bunch of looks like there's, they literally cut 10 times between when the judge rules and when we get to the end of the scene. The scene's basically over, but there's 10 cuts to everybody's looks and it's really funny and brilliantly done. You're absolutely right. I also think it works too because we don't see Harvey get talked to like this. No. So it's fun for us because we're like, whoa. Okay. So I do want to give a quick shout out to our firm's best researcher, Kristen, who everybody knows she worked on suits for a number of years. I really appreciate that you found this fun, fast fact that velocity data solutions who we found out in this scene was the party that filed the patent. Well, Kristen found out that velocity data solution comes back around in season six. Is it the same actor? Do we get the same people or is it just the same company? Well, to be discovered, let's not spoil that. Let's get there. So then Harvey, we get this great scene where he goes into Judge Pearl's chambers. The judge believes Harvey had an affair with his wife. You know, I had one of these moments that people have when they watch shows like this where I was like, oh, no, what? Like I. Did you clutch your pearls on the show? I've read the scripts I acted in this show and I had the moment of like, no, oh, no, he did not. I was like, so upset with Harvey for a moment because I was like, he could have Harvey is the kind of guy who might do that. I don't like that. We don't know yet. I know. I was very upset in the moment though. So we are outside of the courthouse. And then Harvey tells Mike to file a patent interference claim. We come out of a Toronto courthouse, but we're on the steps of the big courthouse in New York. We went down to New York, I think for two or three days in the season to grab a couple of random scenes. So this scene was shot weeks if not months after we shot the rest of the episode. Also coming down these stairs, great Harvey whistle. Oh fantastic. It does. I mean, you know, one of these. Yeah. Yeah. One of those. That has taxi whistle. And that whistle, that whistle gets Harvey to his destination, the art gallery. And Harvey speaks to Lauren, the judge's wife, and she is played by the wonderful Nazanine Bunyati. And Harvey asked Lauren to tell the truth that they did not have an affair, but Lauren refuses. Has there ever been a more beautiful name than Nazanine Bunyati? I don't think so. I don't think so. That rolls off the tongue. There should be. It should be in a poem. Yeah. It sounds like a bit. It is a poem on its own. A poem of a name. I got to say, it's the best outfit in the episode. It's the one that tells us, it gives us the most information, I would say. It's really cool. It's backless. So we're not in an office. And she's got a very artsy necklace over this black dress that has a little bit of a swish in the skirt. And she looks beautiful. She's stunning. I mean, first and foremost, like her work in this scene is so lovely, but also we have to shout out her work as a human rights activist. Listeners may be familiar with her recent activism as part of the woman life freedom movement. And last year she won the Sydney Peace Prize, hats off, and she's an actress. But I will say this about the scene. I love this scene because there's a revelation of Harvey's heart and his empathy. And I have so much respect for how Gabriel played this character right out of the gate. He played Harvey with so much nuance because there's traps in Harvey. There could be traps in Harvey to play the tropes of who a guy like Harvey is in the world. And he plays against that in so beautifully and so many well chosen moments. So for example, in this scene when he says, I'm sorry, you felt humiliated. He says that really beautifully. He could have, another Harvey could have been exasperated or sarcastic or God forbid, just like a little annoyed with it. He really felt something for her. And I actually talked to Aaron about this yesterday. I was just talking about this scene and Gabriel's work. And Aaron agreed and he said that Gabriel brought, and I'm quoting him, he brought a loveliness to a character that just might not have been lovable. And I just, I really feel like this scene is a very early iconic moment of that and great snapshot of that. We also learned he has a code right up until this moment. We're not sure if it's true or not that he had this affair. And then you get in there and you're like, oh, this guy's a player and he doesn't mind doing all sorts of sort of nefarious, potentially sketchy things, but like he has a code. There are certain lines he will not cross and he's not going to sleep with somebody else's wife. That's like, now we know that. And that's good to know. Like I like to know when people who live on the edge, push the envelope, can be dangerous, can do things that might be a little morally questionable, but like, oh, you won't do this. It's good to know and that actually makes me realize that you're actually more principled than maybe I would have known before this happened. Yeah. So we're back at the office after that. Mike is working hard to file the patent interference claim, but Lewis interrupts him and wants to go play tennis. Okay. This is an amazing scene and it's an amazing dynamic and I can watch this over and over. And I think that your USC professors should use this in a masterclass about points of focus. Okay. That points of focus, lots of that one, but that on the lots of list. How hard was it for you to prep for that scene because you're doing business on the desk. You are talking to somebody on the phone. You are under the urgent need to get the person to do the thing quickly. Lewis slathers up, pulls your focus. There's other people in the room listening to you and you got to get it. Stop done. Well, also I don't know if you know this about me, the thing I hate most as an actor, like the thing that when I read it in a script, I'm like, I will have panic attacks about it or scenes where I have to be on the phone with somebody. It's like the weirdest thing. It's like my kryptonite. I get so in my head about it and it's gotten worse over the years. So it's actually fun to watch this because I watched it and I was like, oh, you're doing great. Like I was really impressed with my ability to, you know, your active listening to somebody who's not actually talking to you. You're trying to take the exact right amount of time but not too much time that it seems theatrical. You know, it's just like a lot. It's all you. You're not actually getting to play off of somebody. You're having to kind of have this two sided conversation with just yourself. And it's fun to watch me do it here as a younger man because I feel like I'm a little bit more confident. As I get older, these scenes, I just struggle with them. I also love the moment of this scene, the Lewis snap, focus pulled a Gregory. I thought that was great. You know, as soon as Lewis snaps, it just focuses to Gregory. He turns his face like a little puppy. This guy who's been very kind of too cool for school, suddenly like, yes, he runs up to him and like, and Lewis just hands him the thing again, like learned so much about power in the firm. Like, oh, this guy can make anybody do anything at any moment. And even though we have judgments about the kind of guy, Lewis is like everyone, especially in this bullpen as we'll come to learn, like we'll answer to him immediately and do whatever he says. It's fun to see him use that power. I totally agree. This is a good time for us to take another break. That's the end of an act. When we get back, we're going to talk about what might be one of the greatest sequences in suit history. All time. Definitely one of my favorite scenes. So, come right back. The tennis dream ballet. Hi, welcome back. Diving into the next act. Yes. And in it is some of our favorite bits and bobs, for sure. And #SexyBits, you know, really we start off very strong here because we land on this tennis court with a just fire, fire needle drop, black pistol fire, suffocation blues, perfect music, Lewis just rocking it. Is it slow? I don't even remember in my mind. It's slow mo. It is slow mo. It's slow mo. There's a headband. There's. He's just working it. He's just working it, but my favorite part, because my memory of this was I'm playing with him and getting hit by the balls and having to kind of look silly. What I forgot was the initial opening is him playing and then it cutting to the wide and he's not even playing me. And Mike says, who's winning? Yeah. I just, like, it's so funny how I forgot that and it's just so much to me that's almost funnier than anything else that happens. So this cut will never not be funny. It's like a smash cut to a slow mo moment of his face while he's playing. And I'm going to always affectionately refer to this as the tennis dream ballet. The tennis ballet of my dreams. What a lot. It's a lot say. Okay. We're definitely cutting that part. We are not. I literally will die on that story. We are not cutting that. We're cutting it. I'm not cutting it. I'm not cutting it. I'm not cutting it. So, of course, I spoke to Rick about his tennis prowess. He did as a junior. He did play tennis. So he was good. And he even remembers being like 15 and playing in a tournament and flushing meadows. And he says that he got so riled up like a mini John McEnroe that he threw his racket. And his dad came on the court and removed him. And I don't know if he played any more tournaments. I don't know. I'll have to follow up and find out. I'll let you know. We need. Let's put it on the list for Rick questions. But the point is he was good at tennis. No doubt. He clearly beat me. Exactly. So like Carol Burnett was actually a good singer. She was saying like a comedian on her show Rick was a good tennis player who played tennis like a funny person who couldn't play a donouts. So talked to me about your tennis and you having a pratfall in the middle of this thing. Yeah. I mean, I'm not a great tennis player. I'm not this bad. I guess. I kind of dig how Mike's terrible at tennis, but he's also not too hard on himself. He doesn't care. He's just like, yeah, man, let's keep going. I like at the end when he's like, are we doing it again? Like, you really? You want to do it again? That was pretty bad. Oh my God. It was so great. Yeah. This was a fun sequence. I think you're right, too. I think basically from the beginning of this act all the way through these next couple of scenes in the locker room are just priceless. And you know, when you're on television, most of your like work is kind of chest up. Like, that's where you're acting from. So it's so great to have an opportunity to like have physical comedy. Yeah. And also just to get us on a tennis court, you know, like, it was really fun to see these people in a totally different environment. Absolutely. And also then just Rick's interaction with Tom as he goes by. So good. And Tom gave some Bjorn Borg vibes as he was walking by. Serious Bjorn Borg vibes. Yeah. For sure. So then we're back in the locker room of the tennis club. Lewis tries to. Did I interrupt you? Sorry. No, sorry. I'm so sorry. I'm just getting. I'm just bracing myself. Patrick for this. Oh. I'm holding. I'm clutching my heart. So we're back in the locker room of the tennis club. Lewis tries to talk to Tom Keller again. This whole scene is just genius. And it didn't. It's so long. It feels like two or three scenes in a row. We have the interaction between Mike and Lewis, which is sort of manipulative and heartbreaking. And we see Mike have to deal with the fact that he failed the drug test and the disappointment of that and then the coercion to go against Tom. And then the awkwardness of Lewis's nudity, but I just thought on the whole, this probably has my vote for favorite scene of the season of the season of the episode. I think I have to. It's a tie for me. This is one of them. Yeah. Let the record show, Patrick, that at this point in the episode, I realized I liked this episode better than the pilot really controversial. I loved this scene. You must have so many memories of this, including many memories around the moment where Lewis whips off his underpants. But the moment where Mike does not know where to put his eyeballs really tickled me. Like literally, you're like, I don't know where to face the like again, the dog analogy. Like I'm going to put my eyes over here and I'm going to put my eyes over here. Oh, okay. I'm up here. And now we're over here. And you know what? It was a little bit sexy. I'm sorry. It was just a little bit sexy. The whole thing. This is one of your hashtags. Yeah. It's a hashtag sexy comedy bits. Wow. It was sexy. Okay. It was sexy too. Guys in a locker room being funny. Come on. Two pieces of man meat. A little sweaty locker room. Let the record show. I said it. Showing each other their sexy bits. I hope that everybody who's listening understands that I am completely talking about my, no, this is about to make it worse. Brothers. Your brother. That just made it worse. That just made it more awkward. Hashtag sibling sexy bits. There's no way around this. How do I change it? I've seen a new word for it. It makes me realize that when you work with a great actor, you are made better. I wouldn't have to prepare for a scene with Rick. You just show up and go like, I'll just go along for the right here. I'm going to have some ideas maybe about what I'm looking to do or what my character is trying to kind of accomplish. But mostly I'm just going to kind of like get on the Bucking Bronco and, and, and react to it. And it's just, and it will be great, you know, you're in such good hands when you're, when you're with him. There's a really great line in the scene. You have a favorite one. Oh, I mean, you know, so I treat my body like a temple. Does that make me uncool? Brilliant. I mean, I don't know how he didn't get nominated for an Emmy for this. It was if it's a crime. It's actually a crime. Doesn't make sense. Anyway, the whole scene is great. I love this scene. I get to know these people so much. And oh, and I also really love watching Mike move in to cool guy mode. Yeah. You know, you see Lewis fail so spectacularly, a connecting with Tom over and over and over again. And then to see Mike like kind of effortlessly do it. Like just kind of he reads the guy. He knows who he is. He runs the sports betting. Okay. I know how to talk to this guy. And he just does it. Like he knows how to hook him. And I think it's fun to see Mike's kind of superpower that's not his memory and his ability to, you know, remember every book he's ever read, but it's really his ability to like read a person and connect with them. There's a bit of Harvey in there, you know, I think we see that thing about him. So Mike then, you know, impresses Tom with his memory. It's fantasy football skill. They bond, then Tom wants to get high with Mike. And then we flash forward a few hours and we find Mike standing there at an elevator hitting the button over and over again again, like right from that amazing scene into this like really wild cool sequence of Mike being high again. It's not something we would normally see in suits. I mean, I get away. I haven't watched the show, but from my memory, this was not a thing that we'd often do and felt a little surreal, like, you know, a bit silly in a way that maybe I'm not used to the show being silly. I don't, I never, certainly never felt like I shot a sequence like this, separate again. No. And do you remember at all, like how much was in the script? How much of the bits about being high, like that being really taken with the elevator button or being thirsty or being super paranoid about Jessica, like all the bits were they written in there in a montage type of thing? To my memory, we, there was probably a lot of it scripted, but I think we made a lot of it up. And I seem to remember Kevin Bray, like being really helpful in the sequence too. You know, again, Kevin Bray was our producing director. And for those of you that don't know, a producing director's job is to sort of oversee all the directors and kind of make sure that the vibe of the show stays consistent. I have some memory of Kevin being on set for a portion of this. Were you stressed about playing high, like in the way that sometimes we get stressed about playing drunk on screen? I don't remember it, but I'm sure I was. Yeah. I mean, I'm basically stressed all day anyway about everything that I have to do as soon as I leave the door. But so I imagine this was probably a little nerve-wracking. I think it was probably also a little freeing and getting to be silly, you know, is like being on the tennis court and flopping around, you know, there's something fun in the physical comedy of it that I was enjoying. I love, love, love the sequence in the elevator with Jessica, yes. What does she say? How's it going with Harvey? Oh, it's good. I'm learning lots of, lots of learning, like, you know, it's great. It's, I found it really, really funny. Also I want to do a special shout out in the elevator is Keith, the man standing to my right in the elevator, a special shout out to that gentleman. He was my stand-in until my very last down suits, he's a wonderful guy. It was very cool to just see him on the screen. I forgot that he was in that scene, so much love. He's so lovely. And there was one line in this sequence that is one of my favorite lines in the episode, and it is, you smell paper. When I. You smell paper. So Mike barges into Harvey's office announcing the patent interference claim, has been filed, and Harvey notices that Mike is high and catches Mike lying to him that he's not, so he tells Mike to get out. The scene was pretty heartbreaking. It was a real buzzkill. We go from a very funny silly sequence to tragedy. Yeah. And again, beautiful moment when you're back is against the window, and Harvey looks you in the eye, and you see how crestfallen he is, how he's hurt, personally hurt by it, and it was just a beautiful moment. And we actually have. We have a question about this from Sasha, who says, "Okay, when Mike is in Harvey's office and Harvey realizes that he's high, you can see a painting in the background. We don't bring any attention to this painting or know of its relevance until way later on in the show." Was it already determined that this painting had such value when it was placed here in season one on episode two? This blows me away. Thank you for this question, Sasha, and I reached out to Aaron, and Aaron was happy to answer it. All right, Sasha. I'm going to tell you the story of where that painting, well, sort of how it came from. I mean, the thing is, we didn't know that early. We definitely did not know, and I don't exactly remember who picked that painting for Harvey. Might have been Kevin Bray, pilot director, and it might have been Dave Bartis, one of the producers, but I believe, and I might be mixing up who's opinion was what, but I believe Kevin or Dave picked it, and I'm pretty sure Gene Plyme, one of the other producers, he didn't like it. He also thought, "Why would a guy like Harvey have a painting like that in his office? It's weird." He used to mention it all the time, it just always bugged him, and eventually the writers were just like, "Why would Harvey have a painting like that in his office?" So we decided to come up with the story that obviously you eventually learned. I don't remember whose idea it was for the specific idea for what the painting was, or what we actually did with it, but a lot of times your best ideas come from people just, I mean, he was just bitching and moaning about that painting, and we were like, "You know what? Why don't we make a story out of it?" So, I hope that helps. I got to say, I was on the same side as Gene for a long time. He was. Oh, yeah. I was like, "What on earth is, what is so weird?" I mean, I loved it's weird. I love anything we do weird, but I just could not wrap my head around what it was. So I was happy when we addressed it. Now, funny enough, like it's been so many years, I actually don't even remember the story. Like, I'm excited to get to that, because I don't actually remember how we explained where the painting come from. So, I think in season three, you are in a blooper reel sitting in front of it, and you turn around and you're like, "And what is this? You're playing a very serious scene and you kind of turn around." I don't think. What is this thing? Oh, I do that in a blooper. Oh, that's good. You do. And I do remember having a conversation with you about it once when we were on set. So, obviously, I reached out to Dave Bartis. Oh, we get there real. Wow, you did some investigative journalism here. Let's go. Oh. Because I did happen to know that, and it's a longer story, but that Dave Bartis is the proud owner of that painting. Oh, he currently has it. It does hang on the wall in his office. Yes. And then that out, actually, when we were about to wrap, because I contacted the artist Heather Miller, and I ended up asking her if she would paint smaller versions of the painting. And she did. Wait, why did you want a smaller version of the painting? Because I wanted to get it as a wrap gift for -- And you did do that? Yeah. Oh. She painted two paintings. And they're really cool. They changed the perspective of it, and she's made them smaller. And I gave one to Gabriel, and I gave one to my husband, Son, to you. So that whole moment, three minutes ago, where I said, "I never liked that painting," it's just like really humiliating now that I know the name of this person. No, it's just, I'm just me thinking who I should give the one that I had painted for you. I just want to say I'm sorry to -- I just want to say my opinion changed. I'm wondering, Kristen, do you want a painting? Because -- So anyway, here's what Dave Bartis has to say. So the question is, where did the painting in Harvey's office come from that everybody thought was so weird? So it's a long time ago, but I do remember when we were designing the set, and talking to Lester Cohen, our production designer. We thought it'd be fun if Harvey had art on his walls that looked like it was from sort of up and coming artists. And Lester had a son who was at RISD at the time and had friends who were artists and painters and showed us some artwork. Lester brought -- I believe he brought a picture of that painting in, and we said, yeah, that's a great choice. I did. I thought it was fun and weird and funny, and it ended up in the wall. And I definitely -- I came to really love that painting. I really loved all of Heather Miller's work. And I loved that they made a strange choice. So I think what Erin said is cool. You do a thing, and it sits there for a while, and then you realize, oh, there's an opportunity here to explore these characters because of the strange choice for me at some point. So the fun of making a show and having it go on for so long. Yeah. So thank you so much to Erin and Dave. We look forward to talking to you a lot more throughout this. It's really so great that everybody is so game to be available to us in this way, and we're excited. So then Harvey confronts Lewis about trying to poach Mike. And then Donna comes in and says, she's got outside counsel on the line. And then I just want to point out in that scene, there's a totally bizarre look between Donna and Lewis. Did you clock that like at the end of that scene? Yeah. Donna comes into Lewis's office, and she's like, I've got counsel on the line, and he goes. And then you kind of look at him and smile, and then he smiles back. And I honestly, because we shot this later, we had found, by that point, a Donna and Lewis mess with each other vibe. So we were just, Rick and I were just messing around, and I don't think we ever dreamed that that that moment would stay. But it did stay. So what does it mean? Exactly. I'm wondering if it just stays so that you're like, huh, what's going on? If we thought it was going to be episode five or three or wherever we were in shooting it, we thought it was calling back to something from a previous episode. But now this thing's two. So it's not calling back to anything from a previous episode. Somebody decided to leave it in. Is it you just sort of looking at him and being like, you're up to your old tricks, you old so-and-so? Hmm. Maybe. And him being like, yeah, that's just me, kid. That's my eternal dialogue with these characters. Oh, weird is that. Oh, boy, it's getting late here in Glasgow. Yes. Okay. So then Rachel encourages Mike to try again with Harvey. Mike approaches Harvey's office, and Donna lets Mike through when she recognizes that he's going to stand up to Harvey. And I just want to say I'm wearing a prod address. That's the first time I'm wearing a fancy dress. I remember that dress. Hold on. Let me write that down. How do you spell product? That is a prod address. That was so tight and had no flexibility in the silk that I was standing because I was supposed to be sitting at my desk. I hate it when my silk isn't flexible. That was some inflexible. No, but I remember that dress so well because I remember that it was the first fancy thing I got to wear. Well, here's what I remember about this scene, which is, I mean, it's like four to five lines of dialogue. It's nothing. But I learn so much about who you are from this scene, you know, I learn, and again, that's great working. That's great acting because you're injecting it with more than I think is even inherent on the page, which is like, oh, she's got Harvey's back in a really spectacular way, but she's already starting to put Mike into the equation that is Mike and Harvey. And like, you just get it with such a small interaction. I loved this little sequence. I think it's also because, you know, I know how much more Donna we're going to get. So I'm so hungry for her when we get her in these early episodes, you know? But I think as I'm seeing what we do get of you, it's like so obvious why all the powers that be were like, what are we doing? Like she needs to be front and center of this thing. Like we need to give her a lot more to do. So it's cool to see, you know, for myself, just how obvious that is from these scenes. That's so nice. So then Mike gets into Harvey's office, and I think this is my favorite scene. I said I had one before it was a tiebreaker. I loved the silliness and the fun of the other sequence, but to me, this scene with Harvey in this just takes what's been a really fun kind of silly and a good way all over the place episode and just grounds it. It's funny because I remember shooting this scene. Like I remember being in the room for this whole thing. I remember figuring it out. I remember feeling that it was important. I remember feeling that it was slightly different than everything that we were doing. And I remember feeling like, oh, you know, this isn't the whole show. This can't be the whole show. But it's so cool that the show and enough of the silliness and the fun and all this stuff makes room for a scene like this and to really see these two guys who really care about each other, deeply care about each other, fight it out and figure it out. And these were scenes that we really looked forward to because of also the length of them. Like they had the beginning in the middle of the end and something happened. You walked out of the scene different than you came into the scene and we would always be like, oh, it's three pages. It's four pages, right? Because it's TV. It was TV in the time of commercial breaks, like things needed to be tight. So when a scene like this was written, it was really fulfilling. So we cut to Jessica's office and she's impressed that Mike brought Tom in. And then Tom walks in and insists that Mike be his point man. And I love this because Mike begged a whale and we're cheering for Mike. I want to arm Paul as a fan. Yeah. You got a client. So that was really exciting. Okay. So back to the case, Harvey advises why it turned down the $20 million deal and instead threatened to release his designs for free on his website, which would deem the patent worthless. Checkmate. Also, Gabriel had a kind of an impossible sentence here. Hats off to him. He said this. What? He said, why it? They know we're stalled in our injunction. Okay. I'm already lost. Injunction amount. I'm out. I'm asleep. Why it? Injunction, which means to them they're giving you a fair price as an insurance policy against the risk of possibly losing the insurance claim. Did you memorize that? Did you memorize it? Catch. Can you say it back to me? That's such a good catch. Why it? They know we're stalled in our injunction, which means to them they're giving you a fair price as an insurance policy against the risk of possibly losing the insurance claim. Okay. Now close your eyes and try again. Well, I know. I'm not getting to memorize it that way. I don't have a photographic memory. That is a -- Katie Heigel does. That is a beast of a line. I know. And he did it. And that does that just put chills through my body because I remember having to deliver lines like that and just being like, I don't know, I don't know how to -- Gabriel did a very good job. Very good work. So then Harvey then confronts Judge Pearl outside the courthouse and remember he hands him an envelope. We don't know what's inside, but it is the judicial courthouse codes. Which everybody knows off my heart. And he confesses that he never had the affair. That he is having the judge investigated for blackmail. Baller move. It's not forget. And that he is now going to start sleeping with his wife, which he is a divorcing. I really hope so. I really hope that Harvey and Lauren date. Wait. He says that. Well, because he says because she pleases me. She can do whatever she pleases and she pleases me. Times up. I don't know. What? Yes. No. I think you're right. But no, you didn't do anything wrong. I'm saying that that whole sequence, I was like, again, he's got his code, but just the fact that he's like, I'm having you investigated for blackmail, you're getting a divorce from your wife. Now, I'll be sleeping with her. Thank you very much. I was like, oh, Harvey, you couldn't help yourself. You didn't have to say that part. Well, I think he just said she pleases me like she's lovely and we're going to date. But he's saying I'm going to date her. But he's divorcing her. That's fine. Is that bad? No. But I want Harvey to date Lauren. I'm on this one side of this argument. I want her. You are. You just, we can cut all this out, but let's just have this real talk. Don't you feel a bit of a vibe where it's like, I don't know, just like, now she's mine. Oh, I didn't get that vibe. I didn't get that vibe. It's like the time in pretty woman when Julia Roberts walks in and says, big mistake. Like, do you work on commission? Big mistake. I feel like he's saying to the guy like, you're divorcing her? Big mistake because she's awesome, but isn't it inherent in Harvey dating someone is that he's not because Harvey doesn't have relationship. Oh, do we know yet? I know. Do we know? I don't know if that's established yet. Well, he doesn't have, he doesn't have relationship. But do we know that? Yeah. We have that information. You don't feel like by this episode, we've learned that Harvey's not a guy. Book change. I think somebody like Lauren could waltz into Harvey's life and be the one. But I mean, okay, so real life example is actually kind of good. Clooney was known as a playboy and then he met Amal, isn't it just about the right person coming around? I don't know. What I'm finding interesting is that you find it sweet. Look, I'm a suitor. I'm a suits fan. So I'm in. I'm this one. Harvey, you can do no wrong for you. I don't know. I'm still learning about Harvey, right? I'm only on episode two. So I'm like, she wants to date him. He wants to date her. Yay. That guy's a jerk. Get him out of the way. He's going to pay for it. I'm rooting for love and the possibility of love and that Harvey will change. We don't know. We have to watch for nine seasons and see if Harvey will change. I mean, I will say for the record that I wouldn't want my daughter to date Harvey, but in the context of this moment in the show, I am. I am rooting for him and her, and I'm rooting for love. I'm going on the ride with this. I don't like ride. I don't like the term ride in this context. I'm going for the ride. I would like to go back and change the verb anyway, whatever we can move on. And so then we transition into a New York skyline. We resolve the episode with Mike and Harvey. Are we still friends? Finally on good terms. What? You and me. No, this is good. I like these talks. We resolve the episode with Mike and Harvey on good terms. Mike confronting Lewis about the drug test. Lewis tells him to relax that everybody's one in this situation, trying to take the upper hand. Lewis tells Mike to take another drug test, which we know will now be positive as leverage. Mike points out that no one can be forced to test multiple times in a three month period because our guy, Mike knows the bylaws, he's read the books. He's off book on the literature. Mike then reveals that the new client Tom Keller will be brought in under Harvey instead of Lewis. Lewis has lost again our poor Lewis, our poor Shakespearean character. He can't win. Love this scene. And I really love Mike standing up to him. I think that's fun. It sets a new precedent. It goes, oh, you know, Mike is getting a bit of a backbone as far as Lewis goes. And this thing that Harvey and Mike have gone through is giving Mike some more confidence to stand up to people that were kind of scaring him before, which is fun to watch. Yeah. It was a great episode. It was a great episode of character development. And I look forward to watching them develop further. And I'm all in. I'm watching the next one. All in. Well, that's a long haul. That's a good chat. Wait, wait, wait. I don't know how many goddamn. Oh, my God. I didn't hear one single goddamn in this episode. There was one. There was only one. Mm-hmm. Oh, you know, it's interesting. Sean Joblansky wrote the episode, not Aaron. That's very interesting. So what is our master goddamn count? Right. Eight. Eight total. I can't wait to see this number climb. God. Damn it. All right. Well, thank you to our firm's best researcher, Kristen, for this week's goddamn count. Okay. Before we end, just a reminder that we want to hear from you. So please send us your questions and thoughts to sidebar podcast at SiriusXM.com. We just love to hear from our listeners. And if you send us a voice memo, you may even hear yourself on the pod. We're really looking forward to seeing your guys reaction to this. This is a living thing this podcast. It's growing. It's changing. We're going to figure out how it works and what we want to do. And we want you to be a big part of that. So please, please, please reach out. And we do ask if you have any specific questions to specific episodes to just put the name of the episode in the subject line. All right. Well, that's it for another great episode. Thank you so much, Sarah. Thank you, Patrick. It's such a pleasure to meet you. It's a delight. I love you. I can't wait to do this again. Thank you. Please join us next week when we're going to talk about episode one, three of suits inside track. Bye-bye. Bye-bye. [MUSIC] Sidebar is produced by Sarah Rafferty, Patrick J. Adams, and Sirius X7 Media. Our senior producer is Kimi Gregory. Our producer and researcher is Christian Trader. Our sound engineer is Alex Spenzales, and our audio mix is by Eduardo Perez. Our music is by Brendan Burns and our executive producers are Cody Fisher and Colin Anderson.