Cthulhudrew

Was it just me, or was one of those cops played by Ian Anthony Dale ("The Event")?

Re: "The Fraud": Options: 1) Claire turned him in for not really being a lawyer 2) He got caught on the paperwork fabrication from the Claire/Rachel case (they did mention that the defense contract would open the case up to scrutiny) 3) Jack Soloff (or more likely, Hardman) turned him in for the email fabrication on that case. I say option 2, but any way you slice it, ugh. (EDIT: And who wants to take bets that Harvey becomes his defense attorney?) (EDIT2: And I still say Soloff's "secret" is that he never passed the bar/graduated law school, either, and Hardman found out. :p)

"Every time I try to get out, they pull me back in!!!" - the Plot that Never Died

[nitpicknitpicknitpick] Who opens the car door before they unbuckle their seatbelt? C'mon Sheriff! At least act like a real person!!! [/nitpicknitpicknitpick] My new theory : The killer is actually Emma. Seriously, though, if they could somehow pull that off in a plausible way? *mind blown*

EDIT: NM

Yes. I noticed that, too. Brothers and sisters aren't all touchy feely like that, especially brothers and sisters who are irritated with one another. It was really creepy. And to everyone else who pointed out the silly fakeout with the principal- I had forgotten how bad that was. I remember there were a lot of those silly moments like that, but couldn't recall specifics. I'm just surprised there were no cats jumping out of closets. Oh, and how badly did they drag out that Cal/Nick diner scene? It was obvious from the second minute when Cal showed up all gangsta style and asked Nick about what he said that he was going to take him somewhere and kill him. But they kept going, and going, and going... it was like an SNL skit. They didn't know when to end it.

I'm not sure what I liked least- the mind-numbingly slow pace of the story, or the numerous times they tried to "tease" a dramatic moment with amped up music and quick cuts, only to go right back to the endless doldrums immediately thereafter. And was it just me or did Travis' truck have a big crack in the driver's side windshield during the freeway scene? It seemed like they were deliberately trying to cut around it; I'm guessing it was due to shooting out of sequence with the damaged truck. Distracting to me, in any case. EDIT: Ah, clearly not just me. See why you should read the entire thread through, first? lol

Or how about- Mike takes the collar himself, except... he never graduated from Seminary school! Now he's breaking the laws of man and God! *gasp!*

When it turned out Hardman had something on Jack, and no one could figure it out, did anyone besides me think "I bet he didn't go to law school, either!" :D

The Noah/Jake thing has potential. I could see Noah killing Rachel out of jealousy (he really wishes Audrey would be with him), Jake killing Riley for similar reasons (jealous about her liking Noah), and Noah killing Will. It's like maybe they started out with a tenuous alliance that has deteriorated into one-upmanship. Holy crap! I'd completely forgotten about that movie. That was the big reveal, wasn't it? I've got to back and watch that again. Fun flick. :D

Considering how much hallucinating Emma did this episode, I'm not convinced either of her conversations with her father were real. I suspect that he may be dead. Current theory: Piper (secret love child) found out that he came back to try and get back into Emma and Maggie's lives, and came to town to kill him and prevent him from screwing things up for them even more. She seems somewhat protective of Emma (and she also seemed surprised when Emma said she'd seen her dad. Could certainly be genuine, but the way it plays would work if her character actually had hidden knowledge that he was dead.) As to whether it was just coincidence that he and Piper came back to town when Ghostface started his murder spree, or if maybe Emma's dad came back in response to it (thus drawing out Piper), I'm not sure. But I think she also killed Will, again out of some protective "sisterly" instinct.

It's possible that the killers are not all working together. (Side note: After watching this and bingeing on Harper's Island over the weekend, I think it would be awesome to have a slasher flick where the entire town was secretly serial killers, so no one knew who was doing what killing. Is there something wrong with me?)

On a side note, wouldn't it have been easier if Mike had just come and met with Claire and said, "I did end up going back and turning my life around and getting a degree and passing the bar. I avoided you at that first meeting because I was ashamed of what I'd done at the time we went out." Because, realistically, is she honestly going to assume that he somehow defrauded his way into joining a law firm and becoming a junior partner? She must watch too much television.

I think you're on to something, but maybe the scope of the finale is bigger than this. Mike continues to practice law, makes name partner, gets elected to the Supreme Court, then finally gets found out. Everything he's ever worked on - ever - suddenly is suspect, and the domino effect ends up reverberating across the entire USA, bringing the entirety of the Judicial System crashing down, sending the country into anarchy, crashing the economy, erupting into World War III, and devastating the entire planet. The sequel picks up 30 years down the road as a post-Apocalyptic journey with Harvey and Mike as the sole survivors of the firm, in an action road-trip called "Aftersuits." :D

With the tattoos, I was actually thinking John Doe meets Prison Break. Maybe Dominic Purcell can be a guest star? :D

I thought this was the best use of Jack's character they've had yet. I like that he was actually given a bit of depth beyond "slimy villainous lawyer working against the firm from the inside" that he's been all season. John Pyper-Ferguson is great- when he's allowed to act and be three-dimensional. This show is at its best when it allows the characters to be more than one-dimensional caricatures, but it seems to happen all too infrequently before they revert to type (ie, Louis and Harvey's childish fight at the end). And of course, the yelling. Always with the yelling. It seems like there is never a time when any two characters can interact without ending up yelling at one another. Jessica couldn't have gone to Mike and said, "I'd like you to work with Jack and let me know if he's up to something?" Instead its, "Do this, or it's your ass!" Ugh. I like some of what the show does, but so much of what it does I don't. I am not sure why I continue watching. Deer in headlights? I suppose I am. (Funniest moment of the show tonight: Jack brings a case to Mike "because I thought it was tailor made for someone with experience with hedge funds." Which Mike has all of- what- three months of experience with?

Now that I think of it, you're right. IIRC, Brooke did say that she'd been wanting to tell Emma that for a year, and I think it was supposed to have happened during their Freshman year. So why is Will already getting accepted to colleges, and worrying about that? Can/do colleges recruit Sophomores? Particularly without a scholarship offer on the table?

Sophomores? I assumed they were Seniors, what with Will talking about how he got accepted to college and couldn't afford the tuition. (Stanford? Something or other).

I came to really enjoy Amanda Schull through her performance on 12 Monkeys, but every time I see her on Suits, it just makes me realize how poorly they are able to utilize her talents and how much her character was never anything more than a drama device. ITA about the Mike as "ethical watchdog" comments. If the show is so determined to bring up his illegal lawyering when they feel the need to stir the drama, then I'm surprised they don't milk his hypocrisy for same anytime he starts harping on how people are behaving badly. They like to ratchet up every scene into a screaming match between the principal characters involved, having people throw his false pedigree in his face when he gets uppity would do it nicely. I liked the scene with Harvey and Donna at the end, and even the (admittedly a bit heavy handed) scene in the boardroom where Harvey realizes how he's treated Donna. The show can do these kinds of things- the writers have shown time and again they can write good scenes with (gasp!) everyone working as a team and taking care of the "real" bad guys (all the evil corporations and individuals litigating against them and their clients), I just don't understand the need to have everyone at each others' throats all the time. It actually seems kind of lazy.

So the sentimental, homicidal sociopath is the most human of them all? Sounds about right.

Why, oh why does anyone still work at this antagonistic firm? Considering they are all lawyers, I'm surprised there aren't a ton of harassment and hostile work environment claims being lobbied against them constantly. Perhaps most surprisingly, it is Mike and Rachel's story this week that shows people acting in a mature, understanding way and communicating like adults. How did the writers let that one get past? (I'm placing odds that Mike and Rachel's dad working together ends up with him learning Mike's dirty little secret. Sigh.)

"I'm sorry you feel so unloved. You are a beautiful monster, and there are those who could love you and shall. Life awaits you." 'Nuff said.

I liked it, but I thought it was kind of tragic at the same time. Him unconsciously realizing there was something wrong with him because, deep down, he knows he isn't capable of love. That's pretty dark. (The conversation between Victor and Malcolm where a lot of that self-realization came out was very bleak, and all the more bleak because Victor was wrestling with this insoluble problem of his own "love." Two men who are really incapable of genuine affection- at least of the traditionally romantic, superficial kind; one because of his own inner love/ego and self-loathing, the other because of his cold, calculating, Vulcan logic.)

Ever since they brought Brona/Lilly back to be the "bride of Frankenstein," I was hoping they wouldn't gloss over the chauvinistic hubris that brought about her resurrection, but I didn't think they'd actually address it. Holy cow, was I wrong. And happily so. She's been pretty obviously aware of their selfish little obsessions for quite a while now (likely since "birth") and her well-deserved antipathy towards their male possessiveness has been gestating ever so quietly underneath. Brilliant. On another note, I was really hoping Caliban would get his due comeuppance when he confronted her, but I have to admit a sense of remorse and pity for the utter depths to which she unmanned, humiliated, and manipulated him. I was just kind of hoping he'd get knocked around a bit. She tore him down. As much as his character can achieve levels of loathing, he still somehow manages to be very vulnerable at times, and his horror and disgust and weakness and capitulation really showed through her just as well as Lilly's disdain and hatred did. And I find myself wondering if Dorian and his eternal youth are somehow connected to the plot (plight?) of Madame Kali, Lucifer, and Dracula. Running themes here all around (for that matter, the Frankenstein monsters and their rebirth/undeath themes).

I just had this image flash in my head of their road film journey next year, and Jorah trying desperately to touch Daario to infect him, only to have silly obstacles get in his way: Someone calls for Daario's attention and he turns away just as Jorah almost grabs him Jorah reaches out towards Daario when they are in a tavern together, and the waiter slaps a tankard in Jorah's hand Jorah sneaks up behind Daario, only to slip on a banana peel.... etc.