Suits L.A.: Season 1, Episode 12 “Angry Sylvester” Review
- Kae
- 2 days ago
- 5 min read
Just as we near the end of Suits L.A.’s debut season, the show finally hits its stride, taking viewers on its most note-worthy and humorous journey through the highs and lows of legal life. Through four distinct yet emotionally-driven storylines this episode, the narrative thread of the law drama’s twelfth installment explores personal growth, the complexities of relationships, and the often absurd realities faced by those in, and, most especially, outside the courtroom.
The episode, entitled Angry Sylvester, opens with criminal defense attorney, Stuart Lane reporting for his stay at a resort-styled anger management…ahem, I mean, hostility mitigation, retreat after a particularly harrowing encounter involving a former client who threatened him at gunpoint. The premise sets the stage for the episode’s best use of both comedy and camaraderie as Stuart crosses paths with fellow attorney Louis Litt, played by Rick Hoffman. The latter is the brilliant but often emotionally unstable corporate lawyer from the OG Suits series. One of the most well-played characters in this genre of television history, Louis, who is, himself, long overdue for such a therapy program, adds some much-needed levity to the story involving Stuart.
Known for his sharp wit, competitive nature, and struggles with his own vulnerabilities, Louis’ dominant appearance onscreen always proves to be must-see TV. His return out west does not disappoint.
The verbal volley in the scenes between Stuart and Louis is one of the episode’s highlights, as the two vie for the title of “who has it harder” regarding their struggles with their insecurities and their love/hate relationships with their ex-law partners, who are depicted as near perfect superheroes. For those who are new to this universe, that world be Ted Black and Harvey Specter, respectively. The writers skillfully weave humor with heart, sharp wit with purpose into this week’s dialogue, showcasing the absurdity of their situations while also allowing for genuine moments of connection. Their scenes provide a nicely balanced chemistry between the two actors, and their eventual bonding feels authentic and, dare I say, satisfying.
Meanwhile, back at the office, Rick Dodsen (Bryan Greenberg) finds himself first one in on this day and uses the time, accordingly, to reenact the Footloose barn dance scene throughout the glass-walled entertainment law offices of Railsback Lane. Hey, who hasn’t had that same Kevin Bacon fantasy at work?! While Rick may have the rhythm of Roger Rabbit, we must give him an “e” for effort on that one. He was trying.
Nevertheless, it was a good segue for his client Dylan Pryor (Victoria Justice) to pop-in and catch him in the “dancing” act. Dylan is the action heroine starlette Rick secured for the firm in the season opener.
Aiming to shed her typecast image, Dylan came to enlist Rick’s help to secure her a serious role in a western period piece. Attorney Rick goes to bat for the actress with the production company to score her an audition, much to the movie’s executive producer’s chagrin.
Rick helps Dylan not just with legal advice but also with overcoming the doubts others have imposed on her. The storyline’s subtle critique of Hollywood’s narrow perception of talent also showcases Rick’s growth as he learns to appreciate his client’s ambition beyond her looks.
Over at Black & Associates, Erica Rollins’ (Lex Scott Davis) ambitious move to sign a high-profile client, specifically in entertainment, puts her at odds with the firm’s lead and namesake Ted Black (Stephen Amell) and his vision for growth, leading to conflict and tension between the two. When Ted goes behind Erica’s back to block the negotiation of the client, Erica challenges Ted to recognize her place in the firm.
Little does Erica know she would later find herself on the other side of the same argument with her own subordinate. In lobbying for bonuses of the law staff, Erica is confronted by her junior associate Leah Power, played by Alice Lee, finally standing up to be counted, herself.
The narrative here centers once again on Erica’s efforts to advocate for Leah, who feels undervalued in her role. Their relationship highlights the dynamics of personal and professional growth, with Leah challenging Erica to recognize the associate’s contributions. Intentional or not, the subplot offers quite the commentary for women in the workplace, finding their voice as they find themselves. Leah’s call for acknowledgment serves as a catalyst for Erica’s own character development, leading the law partner to realize that success in the corporate world should not come at the expense of personal wellbeing. This poignant a-ha moment adds a bit of depth to the episode, reminding viewers that being in the legal profession is as much about personal fulfillment as it is about winning cases.
Nevertheless, while the message is noble, the excution unfortunately falls short, in part, because there has been too long of a gap in seening Leah the character onscreen. As a matter of fact, Leah last appeared in episode 3; therefore, we will just have to take her word for all the stellar contributions she has made with her job. The lack of airtime has left us viewers nonchalant in advocating for her, too. In the times we have seen her, the character has come off as a wishy-washy, never satisfied idealist. Every episode in which Leah has appeared has her questioning her future and commitment. Leah, it is time to pick a lane.
As a stand alone episode, the narrative was a nice thought and nearly worked, but as part of the greater series narrative, there’s been no real connection for the character to the others on canvas, and the plot just felt like filler.
Woven throughout the entire episode, as with all others, is Ted’s flashback memories from New York. Only this time, we get a little more background into Ted’s disdain for his father and how it relates to his brother, Eddie, who we learn is the older of the two. Though Amell has often been criticized for portraying similar emotional tones across different scenes, the one-note take here actually works because it reinforces the restraint his character has had to impose on himself so as not to be swallowed up by the emotional weight of how and why his brother died. The interactions between the two brothers continue to be some of the best at helping the show find its heart.
Despite the strength of this episode’s storytelling and character development, the break-throughs for the season this go-round come a little too late, as whispers of cancellation looming over the show after just one season have been confirmed.
It is a shame as the show had promise going in and now it will not get the chance to fully evolve. There is one remaining episode for Suits L.A. before the gavel comes down for good. The final episode will air next Sunday, May 18. You can stream all previous episodes now on Peacock.
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