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Better call Harvey Specter? Gabriel Macht answers the call for ‘Suits LA’

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Better call Harvey Specter? Gabriel Macht answers the call for ‘Suits LA’

Not all heroes wear capes. This one is an impeccably dressed lawyer who is often armed with a tumbler of whiskey. And the new “Suits” spin-off has called him back for duty.

When NBC announced that it was capitalizing on the success of the glossy legal drama — which concluded its USA Network run nearly six years ago but became the most streamed show of 2023 with its arrival on Netflix — with “Suits LA,” a Los Angeles-set spin-off revolving around a new group of ambitious lawyers and their dealings within the entertainment industry, creator and showrunnner Aaron Korsh kept any plans for appearances by characters from the original series more tightly under wraps than the logistics of the mysterious can opener ritual.

Rather than play the odds, he played the man and got Gabriel Macht to play Harvey Specter again.

Across nine seasons and 134 episodes, Macht took viewers on the smug but charming corporate attorney’s journey of emotional and personal maturation as he teamed up with — for more most of the show’s run — wayward genius Mike (Patrick J. Adams), whom he hired to be his associate even though the young man had never attended law school. Between cases, Harvey confronted his demons and by the series’ 2019 finale was a married man headed to Seattle to reunite with his sidekick to do some legal good for the little guys. (Macht, meanwhile, intentionally stepped away from acting to focus on his family once the series wrapped.)

Now, it’s early March and Macht’s on the set of “Suits LA” on the NBCUniversal lot putting the finishing touches on his three-episode arc, which was crammed into roughly a week of filming: “I really thought I was shutting the door on this character at the end of the original,” says Macht, with a set of dark-framed glasses the only thing distinguishing him from his character during a break.

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Harvey’s arc primarily occurs in flashbacks circa 2010, establishing his friendship with “Suits LA” frontman Ted Black (Stephen Amell) around the time the latter was wrapped up in a case involving notorious mobster John Pellegrini (Anthony Azizi) that ultimately triggered his move to the West Coast. Ted was prosecuting federal cases for the U.S. attorney’s office in New York City and on a mission to put the mafioso — who used various intimidation tactics on Ted, including extorting Ted’s corrupt father (Matt Letscher) and inadvertently having Ted’s brother (Carson A. Egan) killed — behind bars; Harvey worked in the district attorney’s office. Later, when the murder case fell apart, Harvey, who by this time was working in the corporate sector, clandestinely helped Ted convict Pellegrini on racketeering charges. But with the criminal set to be released from prison in the present day, Harvey makes a trip to L.A. to rally Ted so they can get Pellegrini back behind bars. The arc concluded with Sunday’s episode, titled “Bat Signal,” which finds the dynamic duo in New York City to (successfully) execute their plan.

But is this the last viewers will see of Harvey Specter? Macht has learned not to say no to anything.

“Look, if everything fails in my life, I think I can go to Times Square, put on the suit and just pose for pictures, maybe?” he says with a wide smile as he ambles his way back to shoot a scene in the present-day timeline.

Like the Naked Cowboy?

“Yeah, I’ll be right next to him.”

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The Times checked in with Macht a few weeks later over a video call to discuss the reprising of his character. Here are excerpts from the conversation.

Gabriel Macht reprises his “Suits” character Harvey Specter for NBC’s spin-off “Suits LA.”

(Nicole Weingart/NBC)

Since the resurgence of “Suits,” you’ve been asked about reprising your role for a revival or even a movie of the OG series. You’ve largely had some playful responses quashing the likelihood of that happening. What was the initial reluctance and how did this way become appealing for you?

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When I was finished with “Suits,” I was ready to be done. I feel like we told those stories and we really stuck the landing. We left with integrity. At that time in my personal life, I was ready to be done and move on and focus on different things. I wanted to travel the world, and I wanted to fill up the daddy well, and, you know, really spend time with my kids and make up for lost time. That was really the focus. That’s where maybe those responses [came from]. Jump a few years, when Netflix picked it up, it dominated the viewership in so many ways that it just felt like it was sort of bigger than anyone could really understand and imagine. I’m seeing that there’s a new generation. Who knows, there might be a “Suits: The Musical” on Broadway in 20 years. It created a bunch of opportunities for a lot of the players from the original show. And when Aaron [Korsh, the creator and showrunner of both series] came to me and said [mimics Korsh’s pitchy voice], “Hey, I know you haven’t wanted to get back in this … ,” I said, “What is it? What’s the story?” All I was interested in was how he was doing and how’s the show going and support the show. He said, “Look, there’s a character that might have been friends with Ted, and I can make his name in the script Harvey, if you’d be willing to consider …”

And over the next days, I started to think about the fans and how much the fans are really so committed to this show. That was my first instinct … if they can make it happen, I want to do it for the fans.

Did it take some time for you to feel like you were locked in? We don’t see Harvey in a suit right away and I would imagine that’s what helps you get there.

It kind of was like riding a bike, especially when you put the suit on. Aaron has this way of writing where he’s got a lot of double negatives. They gave me one or two speeches where I had to get into that dynamic and I was like, “Oh, my God, I’m gonna have a panic attack. This is not why I came back.”

On set you mentioned that the baseball scenes were shot at Rancho Park, which is where you used to practice for your high school baseball team. That must have felt like a surreal, full-circle moment to be coming back to this seminal character in your career while returning to a place that had meaning in real life.

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It was nostalgic in so many ways. I played up until my freshman year of high school. They put me on the bench. I didn’t really play that much. I loved baseball and I still love baseball, but I was like, “Oh, God, I should really be thinking about my future. Maybe I should go into the drama class or something.” They happened at the same time, so I can either do baseball every day or do drama and acting.

Going back to Rancho Park and being in a uniform, playing shortstop, and actually seeing my dad [actor Stephen Macht, who had a recurring role in “Suits”] come out was nice. I said, “Dad, I’m shooting at Rancho, if you want to come and visit.” He comes out and he’s sitting in the stands; apparently he asked them, “Where’s Gabriel?” And someone was like, “Who are you?” And he’s like, “I’m his father!” It brought him right back to when I was in high school or little league. And they’re like, “Oh, he’s playing shortstop.” He’s been in the business 50 years. And he was like, “Well, when’s the game starting?” It was a real moment for me to see him in the stands. During one of the takes, I was like, “Dad, you’re sitting with background, you’re like an extra right now. Go behind video village! You can watch the scene there.” It was a full-circle moment for us.

A man, wearing a black tuxedo, stands next to a woman in a black gown

Gabriel Macht, left, as Harvey Specter and Sarah Rafferty as Donna Paulsen in the 2019 series finale of “Suits.” (Shane Mahood / USA Network / NBCUniversal)

Two men in suits sit side by side

Patrick J. Adams, left, as Mike Ross and Gabriel Macht as Harvey Specter in a Season 2 scene from “Suits” (Steve Wilkie / USA Network)

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When it was announced that you were returning, it quickly became clear that one of the key cameos fans were anticipating with your return is Harvey’s wedding band. The Darvey shippers, myself included, wanted some assurance that Aaron did not mess with their favorite TV couple. Did you see some of that? And were you curious where Harvey would be at in life?

Yes, I was curious to see what it was and what was going to happen and what the storyline is; it could have gone in so many different directions. There’s no reference that they’re married and still together, but there is a reference that there’s a child. I was moved by that moment. I was moved when I read it, I was like, “Oh, that’s cool.” I said “Guys, in the flashbacks, obviously I don’t have a ring, but I think I should have a ring for the present time.” And they were like, “Yeah, yeah, yeah.” So, that’s how we basically said that this [Harvey-Donna] relationship is still continuing. It was a nice moment. It was a really nice moment. Now why we never mentioned anyone with the name Ted in 134 episodes [of “Suits”], but these guys are really great friends and he names his son after him …

Wait. Do you think he really named their son after him? I thought he was just teasing.

I think he [Harvey] was just playing with him [Ted]. But you never know with Harvey; he keeps so many things close to the chest. He could have really connected with him years ago. With television, with characters, you don’t know.

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I have to say, I always thought Harvey would be a girl dad. Maybe they have a daughter who just can’t text yet. My niece loves doing the voice to text on other people’s devices.

That’s very possible. Maybe he has a girl who’s of the age of texting but doesn’t have a phone? We don’t give our daughter a phone.

Fans on the show know that Harvey lost both his parents. With his appearance on “Suits LA,” we learn his only sibling, Marcus, has passed in the time since. [Actor Billy Miller, who portrayed Marcus, died in 2023.]Have you asked Aaron why he has made Harvey endure so much pain and loss? Can we have some assurance that Harvey is at least going to the doctor and getting himself checked out?

That’s a good question. How do I answer this? The human in me says, look, there’s tons of loss in in our lives and humans go through loss every day. There’s always been a real sense of abandonment issues that Harvey has had throughout his life, and I think that that has been a dramatic tool that has been helped by writing for that. I don’t think Harvey really plays a victim, but I think it’s a way to feel for him. If you look at any Disney movie, the parents die within five seconds and that’s to get you on the hook of feeling like you gotta feel for this character.

Two men in suits sit across from each other

Gabriel Macht, left, as Harvey Specter and Stephen Amell as Ted Black in “Suits LA.”

(Nicole Weingart / NBC)

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I know it was brief and we don’t get too much of present-day Harvey, but what was it like playing Harvey at this stage of his life and this stage in your life?

It was fun. He’s a little bit more settled. He’s a little bit more in touch with himself. He likes to still take the piss out of his friends and the people that are close to him. But what we love about Harvey is his sense of what’s right and making things right and his loyalty and his heart. There’s plenty of times he’s playing with the system. I think he’s doing what’s best. That was nice to play and just to be in in touch with that.

It’s interesting because there’s many versions of Harvey that I’m not a fan of and that I’m not crazy about and that I don’t like to engage in or support. I don’t like supporting the narcissistic elements of him. I don’t like supporting the aggressive, toxic masculinity that Harvey has in his toolbox. In these last six years, I have done a lot of work on myself and just seeing, what are the behaviors of Harvey that do align with me? There’s elements of behavior where, as the actor and as the character, you’re having to beat people down and manipulate and use so many negative behaviors that don’t align with me, or more so, align with the child in me, that I have been keenly aware that I need tend to.

What worked well for Harvey was my [inner] child. So, to be able to dismantle that or observe all the behaviors of the child — digging his heels in and saying, “This is what I need! This is how to do it!” — that selfish, sort of narcissistic coping mechanisms that you make as a kid, that’s the work to be done [on myself] to move away from him. I’d love to see a documentary where somebody takes characters where the actors have really lived in their shoes for so long that they become them in different ways, and how do they shake them at the end of the day and come back to themselves? I think it’d be really interesting

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Could you see a day when you consider doing another TV series or returning to the screen?

I’m way more interested right now in this partnership that I’m doing with Bear Fight Whiskey. The small narrative stories where I can be creative are where my heart is right now. A television show is a big commitment. You’re basically owned by the show and the network and the stories and you really have to give up so much of your life. Maybe when my kids go to college or whatever, and there’s more time in my life that I can devote to that.

Your friends and “Suits” co-stars, Sarah Rafferty and Patrick J. Adams, recently wrapped re-watching the first season on their podcast. They’re on hiatus now, but do you think you’ll ever stop by as a guest? I need you on this podcast.

At some point, yeah. I don’t know when. The stars have to align. I think they’re doing great and I think they’re really enjoying it. I don’t know how I would go on there and talk — I have a bad memory as it is. I do not know if I would come in with much substance. I’ve seen clips [of “Suits”] here and there and I’m like, “I said that? I have no idea! I have no recollection of that!”

I do feel like Harvey has some explaining to do with Mike for using the whole Batman thing with Ted.

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I think you’re right. You have to go after Aaron. He thought it was a little too meta and too much of a wink to the audience, but I’ll tell you, we said “Green Arrow” and “The Spirit.” [Amell played Oliver Queen in the CW’s “Arrow” and Macht portrayed the title character in Frank Miller’s 2008 film adaptation of Will Eisner’s “The Spirit.”] There’s a version of that that would have been gold, but [Aaron’s] a Batman guy, so you got to just say what’s on the page sometimes.

You grew up here. What’s the L.A. spot Gabriel would tell Harvey to visit?

Marty’s. I’m telling you, Marty’s burgers — it’s right near Rancho Park. It’s a greasy spoon. It’s the home of the combo. It’s where I used to eat all the time. I’m a vegetarian now, so I can’t go back there and eat there, but Harvey could.

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Movie Reviews

Review | It Was Just an Accident: Jafar Panahi’s dark comedy set in a future Iran

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Review | It Was Just an Accident: Jafar Panahi’s dark comedy set in a future Iran

4/5 stars

In It Was Just An Accident, women in Iran can choose to appear and work in public without headscarves, and wear Western-style bridal dresses in the open. Modern bookshops do brisk business, and – perhaps most strikingly – paroled dissidents can rebuild their lives without hassle from the authorities.

In contrast to his previous films, the twice imprisoned Jafar Panahi – who is now allowed to work and travel freely after having his convictions overturned by Iranian courts – seems to have set It Was Just An Accident somewhere in an imagined, brighter future, when authoritarianism and religious dogma have receded into the distance.

As suppressed anguish takes over, however, the film turns into one dark nightmare. Could past traumas be so easily forgotten – and how should those who suffered confront or make peace with their tormentors in a land of relative freedom?

Filmed in Iran without official approval, It Was Just an Accident offers masterfully scripted, highly contemplative drama about the after-effects of political tyranny on the individual.

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In between, Panahi has also laced his movie with dollops of jet-black, Beckett-like comedy, with the characters name-checking Beckett’s play Waiting for Godot in one scene.

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Appreciation: George Wendt, quintessential Regular Guy

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Appreciation: George Wendt, quintessential Regular Guy

George Wendt, who will be famous as long as television is remembered as Norm from “Cheers,” died Tuesday. He passed in Los Angeles, where he lived, though the cities to which he is spiritually tied are Boston, where the show was set, and Chicago, where he was born and entered show business by way of Second City, and which he unofficially represented throughout his life, and which claimed him as one of its own. One of his last Facebook posts, earlier this month, as a Chicagoan educated by Jesuits, was, “pope leo XIV is a sout’ sider my friendts. his cassock size is 4XIV.”

Entering stage right, as the assembled cast shouted his name, Norm would launch his heavyset frame across the set to a corner stool where a glass of beer — draft, never bottled — would appear as he arrived. He was the quintessence of Regular Guy, a big friendly dog of a person, with some of the sadness that big, friendly dogs can carry.

“Cheers,” which ran for 11 seasons from 1982 to 1993 — Wendt appeared in every one of its 275 episodes — was a show about going where everybody knows your name but also, as in life and fiction, a place for people who had nowhere better to be, or nowhere else to go. Though Norm was nominally an accountant, and then a house painter, his real job was to sit and fence with John Ratzenberger‘s font-of-bad-information postman Cliff Clavin — they were one of the medium’s great double acts — and drink beer, and then another. His unpaid tab filled a binder. (“I never met a beer I didn’t drink,” quoth Norm, though there was never any suggestion of alcoholism, or even of drunkenness.)

But as a person with work troubles and a marriage that could get the better of him — Wendt’s own wife, Bernadette Birkett, supplied the voice for the off-screen Vera — he was also the vehicle for some of the show’s more dramatic, thoughtful passages. (That his service to the series was essential was borne out by six Emmy nominations.) Unlike some other “Cheers” regulars, there was no caricature in his character. His woes, and his pleasures, were everyday, and he played Norm straight, seriously, without affectation, so that one felt that the Wendt one might meet on the street would not be substantially different from the person onscreen.

Like many actors so completely identified with a part, Wendt, who spent six years with Second City, worked more than one might have imagined; there were dozens of appearances on the small and big screen across the years, including his own short-lived “The George Wendt Show,” which took off on public radio’s “Car Talk.”

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After “Cheers,” he’s perhaps most associated with the recurring, Chicago-set “Saturday Night Live” sketch “Bill Swerski’s Superfans.” But he also did theater, including turns on Broadway as Edna Turnblad in “Hairspray,” as Yvan in Yasmina Reza’s “Art” and as Santa in the musical adaptation of “Elf.” There was “Twelve Angry Men,” with Richard Thomas in Washington, D.C., and he was Willy Loman in “Death of a Salesman” in Waterloo, Canada. In Bruce Graham’s “Funnyman,” at Chicago’s Northlight Theatre in 2015, he played a comic cast in a serious play, breaking out of typecasting.

We were connected on Facebook, where he regularly liked posts having to do with music and musicians; he was a fan, and sometimes a friend, of alternative and underground groups, and tributes to him from that quarter are quickly appearing. (When asked, he would often cite L.A.’s X, the Blasters and Los Lobos as among his favorites.) One of his own last posts was in memoriam of David Thomas, leader of the avant-garde Pere Ubu, twinned with “kindred spirit” Chicago Bears defensive tackle Steve McMichael, who died the same day.

Once, after he messaged me to compliment an appreciation — like this — I’d written about Tommy Smothers, I took the opportunity to ask, “Do I correctly remember seeing you at Raji’s a million years ago, probably for the Continental Drifters?” Raji’s, legendary within a small circle, was a dive club in a building long since gone on Hollywood Boulevard east of Vine Street; it wasn’t the Roxy, say, or other celebrity-friendly spots around town — or for that matter, anything like “Cheers,” except in that it served as a clubhouse for the regulars.

“Yep,” he replied. “Tough to get out like I used to, but please say hi if you see me around.” Sadly, I never did, and never will.

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Movie Review: ‘Any Day Now’ Keeps You Guessing | InSession Film

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Movie Review: ‘Any Day Now’ Keeps You Guessing | InSession Film

Director: Eric Aronson
Writer: Eric Aronson
Stars: Paul Guilfoyle, Taylor Gray, Alexandra Templer

Synopsis: To stage a masterpiece of a heist, you need time, friends, and balls. Steve has two of the three


Art thieves are complicated criminals. On the one hand, they seem to have a sense of art history and the value of the medium. On the other hand, they seem nuts because they are taking something that is catalogued and has no other like it on Earth and thus, nearly impossible to move without someone noticing. It takes a certain type of thief to be modestly successful at art theft. Which is not what you think when you meet the crew in Any Day Now.

Writer and director Eric Aronson’s script doesn’t give us much confidence that the crew of art thieves led by Marty (Paul Guilfoyle) could rob a liquor store, much less a guarded museum. At one point, a member of the crew is brought in to intimidate a drug dealer and in a confusing move with a shotgun, seemingly blows his own testicles off. It’s unclear whether it was intentional or not. Much of Aronson’s script evolves that way as we are stuck with point of view character Steve (Taylor Gray), who knows next to nothing about what is happening.

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This is both a benefit and a detriment to Aronson’s script. The idea that we’re always on our back foot when it comes to Marty and his schemes is refreshing. This way of revealing things as they become necessary makes sure that the audience shouldn’t be ahead of the action in predicting the outcome of any one plot point. It’s an intriguing way to keep the audience interested.

It’s too bad the other main plot is such a dud. We have seen the lovelorn guy many times before. We’ve seen the girl of his dreams who doesn’t know how he feels and doesn’t understand her own self worth, many times before. We’ve seen the doormat guy who worries about losing his best friend since childhood even though that friend is an incredibly crappy adult. These plot points drag down the more interesting characters and plots.

Marty is a fascinating character. His charm is in his mystery, though, so he never would have worked as the focal character of this film. There is a scene that perfectly encapsulates how he is willing to save Steve from his pushover relationship with friend and roommate Danny (Armando Rivera) while also reminding Steve that he’s a pushover for Marty now. As Steve and Danny’s band play Massachusetts anthem, “Roadrunner” by Johnathan Richman and the Modern Lovers, Marty makes his way to the stage and stares down Danny until he gets the microphone from Danny. Marty then begins to croon the Boston standard, “Dirty Water” by The Standells. He gets the band into it and the crowd into it and completely takes over the space that Danny once held in the crowd’s hearts and minds. It’s a scene that evolves the two overbearing relationships in Steve’s life without forcing the issue with unnecessary dialogue.

Any Day Now' Review: Reimagining an Unsolved Heist

The scene is all the more rich for Paul Guilfoyle’s bruiser charisma. Guilfoyle has been a character actor for a long time and he can give us all we need to know about a character with only a word and a gesture. His presence is felt in every scene he’s in not because he’s speaking, but because he’s thinking. Marty is always thinking and Guilfoyle makes this plain with every look he gives. It’s a masterfully subtle performance that conveys everything dangerous and enticing about Marty.

For the most part, Any Day Now is an enjoyable film. It’s not the best of heist movies, or relationship dramas for that matter, but it has characters and instances that make it intriguing to watch. It’s hard not to want to know what is going to happen when the mystery is held back so well. It’s worth tracking down for Paul Guilfoyle’s performance and for the intrigue of the heist plot.

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Grade: C

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