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.
Advertisement
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.”
Advertisement
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?
Advertisement
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.
Advertisement
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.
Gabriel Macht, left, as Harvey Specter and Sarah Rafferty as Donna Paulsen in the 2019 series finale of “Suits.” (Shane Mahood / USA Network / NBCUniversal)
Patrick J. Adams, left, as Mike Ross and Gabriel Macht as Harvey Specter in a Season 2 scene from “Suits” (Steve Wilkie / USA Network)
Advertisement
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.
Advertisement
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.
Gabriel Macht, left, as Harvey Specter and Stephen Amell as Ted Black in “Suits LA.”
(Nicole Weingart / NBC)
Advertisement
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
Advertisement
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.
Advertisement
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.
Park Chan-wook’s “mordantly hilarious” new comedy “skewers capitalism with much of the same wit, sadness, and slapstick buffoonery that made Parasite so resonant,” said David Ehrlich in IndieWire. Squid Game villain Lee Byung-hun stars as a laid-off paper company veteran who’s so desperate to preserve his family’s upper-middle-class existence that he schemes to murder the other contenders for his potential bounce-back job. “Plotted with ornate precision but unfolding with the panic of a desperate man,” the latest Korean-language feature from the director of Oldboy and The Handmaiden is “a slaphappy movie with a surprisingly powerful sting.” Because Lee’s character is such an incompetent killer, No Other Choice “plays like a vicious episode of Looney Tunes,” said Brian Tallerico in RogerEbert.com.
At the same time, “Lee is at his career-best here, deftly walking a tightrope of likability, relatability, and morbid humor” as this brilliantly shot film gradually transforms from “almost silly” to something far darker. Still, despite its fierce anti-capitalist message, the movie remains “an amusing caper, not a stern lecture,” said Kyle Smith in The Wall Street Journal. Though it’s “easily half an hour too long,” fattened by “irrelevant asides and digressions,” it “isn’t particularly heavy-handed in its disdain for corporations.” Instead, it’s “a sly slay-fest, with an appropriately mordant ending,” one that will unnerve anyone who’s fearful of what AI and automation will do to the jobs that provide so many of us with our sense of worth and identity.
The Week
Escape your echo chamber. Get the facts behind the news, plus analysis from multiple perspectives.
Advertisement
SUBSCRIBE & SAVE
Sign up for The Week’s Free Newsletters
From our morning news briefing to a weekly Good News Newsletter, get the best of The Week delivered directly to your inbox.
From our morning news briefing to a weekly Good News Newsletter, get the best of The Week delivered directly to your inbox.
‘Dead Man’s Wire’
Directed by Gus Van Sant (R)
★★★
Advertisement
Gus Van Sant’s first feature in seven years has “the breezily watchable feel” of a movie you might catch on Sunday-afternoon cable TV, said Marshall Shaffer in The Playlist. “A well-oiled machine,” Dead Man’s Wire dramatizes a real-life 1977 incident in which an Indianapolis mortgage broker was held hostage by a man named Tony Kiritsis who believed the company had sabotaged his attempt to finally make a few bucks. Portrayed here as “both bumbling and brilliant,” Kiritsis won his bid to air his grievances on national TV, all while keeping a shotgun wired to his captive’s neck in a way that ensured instant death if anyone intervened.
A “crackling” lead performance by Bill Skarsgard carries this small-scale thriller, said David Rooney in The Hollywood Reporter. But Colman Domingo also shines as a “magnetically cool” DJ whose effort to defuse the crisis helps turn the standoff into a three-day national story. Van Sant, whose commercial breakthrough came with 1995’s To Die For, is “in his element conducting the media circus and the brainstorming of local cops and FBI,” turning Dead Man’s Wire into “a timely, entertaining reflection on the way the offer of the American dream often tends to be snatched back.” It’s troubling, though, that the movie fudges some facts about the case to fit the director’s populist vision, said Owen Gleiberman in Variety. Dead Man’s Wire is clearly “Van Sant’s most vital piece of work for the big screen in some time,” but there’s no evidence that the mortgage company snookered Kiritsis, and pretending it did unfairly alters the drama we’re shown.
‘Father Mother Sister Brother’
Directed by Jim Jarmusch (R)
★★★
A free daily email with the biggest news stories of the day – and the best features from TheWeek.com
Advertisement
“Jim Jarmusch’s Father Mother Sister Brother finds the director in a minor key, which is sometimes his best key,” said Bilge Ebiri in NYMag.com. Like such Jarmusch “masterpieces” as 1984’s Stranger Than Paradise and 2016’s Paterson, this Venice film festival award winner mines the mundane for humor and emotional effect. Even so, “it’s much more stripped down and oblique,” a quiet triptych in which each of the parts is a snapshot of a “disarmingly spare” family get-together. The movie is “funniest at the start,” said Nick Schager in The Daily Beast, as Adam Driver, Mayim Bialik, and Tom Waits co-star in a chapter about two adult siblings who during a rare visit with their semi-reclusive and untrustworthy father engage in “the sort of small talk that strains to fill a vacuum.”
The second part then dials up the despondent mood, as sisters portrayed by Cate Blanchett and Vicky Krieps visit the Dublin home of their prim novelist mom, played by Charlotte Rampling. Unfortunately, Jarmusch “leans heavily into wistfulness” in the third segment, in which Indya Moore and Luka Sabbat play adult twins visiting the Paris apartment of their recently deceased parents. Here, “the overtly melancholy tone is more than the wispy action can shoulder.” For me, that third segment and the first are “the most convincing as portraits of real life,” said Peter Bradshaw in The Guardian. Still, throughout this “deeply pleasing” film, you wait in vain for a crisis or confrontation to arrive and instead experience only “contentment and calm,” a Zen-like acceptance of life’s chance relationships that serves as “a cleansing of the moviegoing palate.”
Wagner Moura won the Golden Globe for lead actor in a motion picture drama on Sunday night for the political thriller “The Secret Agent,” becoming the second Brazilian to take home a Globes acting prize, after Fernanda Torres’ win last year for “I’m Still Here.”
“ ‘The Secret Agent’ is a film about memory — or the lack of memory — and generational trauma,” Moura said in his acceptance speech. “I think if trauma can be passed along generations, values can too. So this is to the ones that are sticking with their values in difficult moments.”
The win marks a major milestone in a banner awards season for the 49-year-old Moura. In “The Secret Agent,” directed by Kleber Mendonça Filho, he plays Armando, a former professor forced into hiding while trying to protect his young son during Brazil’s military dictatorship of the 1970s. The role earned Moura the actor prize at last year’s Cannes Film Festival, making him the first Brazilian performer to win that honor.
For many American viewers, Moura is best known for his star-making turn as Colombian drug lord Pablo Escobar in Netflix’s “Narcos,” which ran from 2015 to 2017 and earned him a Golden Globe nomination in 2016. He has since been involved in a range of high-profile English-language projects, including the 2020 biographical drama “Sergio,” the 2022 animated sequel “Puss in Boots: The Last Wish,” in which he voiced the villainous Wolf, and Alex Garland’s 2024 dystopian thriller “Civil War,” playing a Reuters war correspondent.
“The Secret Agent,” which earlier in the evening earned the Globes award for non-English language film, marked a homecoming for Moura after more than a decade of not starring in a Brazilian production, following years spent working abroad and navigating political turmoil in his home country as well as pandemic disruptions.
Advertisement
Though he failed to score a nomination from the Screen Actors Guild earlier this month, Moura now heads strongly into Oscar nominations, which will be announced Jan. 22. “The Secret Agent” is Brazil’s official submission for international feature and has been one of the most honored films of the season, keeping Moura firmly in the awards conversation. Last month, he became the first Latino performer to win best actor from the New York Film Critics Circle.
Even as his career has been shaped by politically charged projects, Moura has been careful not to let that define him. “I don’t want to be the Che Guevara of film,” he told The Times last month. “I gravitate towards things that are political, but I like being an actor more than anything else.”
It’s an easy, fun festive watch with a better first half that presents Chiru in a free-flowing, at-ease with subtle humor. On the flip side, much-anticipated Chiru-Venky track is okay, which could have elevated the second half.
#AnilRavipudi gets the credit for presenting Chiru in his best, most likable form, something that was missing from his comeback.
Advertisement
With a simple story, fun moments and songs, this has enough to become a commercial success this #Sankranthi
Rating: 2.5/5
First Half Report:
#MSG Decent Fun 1st Half!
Chiru’s restrained body language and acting working well, paired with consistent subtle humor along with the songs and the father’s emotion which works to an extent, though the kids’ track feels a bit melodramatic – all come together to make the first half a decent fun, easy watch.
Advertisement
– Mana Shankara Vara Prasad Garu show starts with Anil Ravipudi-style comedy, with his signature backdrop, a gang, and silly gags, followed by a Megastar fight and a song. Stay tuned for the report.
U.S. Premiere begins at 10.30 AM EST (9 PM IST). Stay tuned Mana Shankara Vara Prasad Garu review, report.
Writer & Director – Anil Ravipudi Producers – Sahu Garapati and Sushmita Konidela Presents – Smt.Archana Banners – Shine Screens and Gold Box Entertainments Music Director – Bheems Ceciroleo Cinematographer – Sameer Reddy Production Designer – A S Prakash Editor – Tammiraju Co-Writers – S Krishna, G AdiNarayana Line Producer – Naveen Garapati U.S. Distributor: Sarigama Cinemas