In the summer of 2023, the unexpected popularity of the 2011 legal drama Suits, which had a modest run on USA Network, exploded after its arrival on a streaming platform. Consequently, a sequel or reboot became inevitable. Aaron Korsh, the original showrunner, is back with Suits LA, a West Coast version of the legal dramedy. The characters mirror the boldness of their New York counterparts but enjoy slightly more time outdoors. This highly anticipated spinoff will premiere on NBC on February 23.
The story revolves around Ted Black (Stephen Amell), Los Angeles’ top entertainment lawyer. Flashbacks reveal his past as a New York prosecutor who looked down on lawyers working on celebrity contracts. The supporting cast will feel very familiar to Suits fans. It’s as though Korsh blended personality traits from his original characters and redistributed them among the new set of ambitious partners and associates.
The first episode plunges viewers into a dramatic split between Ted and his law firm’s other founding partner, Stuart Lane (Josh McDermitt). Stuart, still upset over a fight that’s often mentioned but never shown, teams up with Ted’s ex-girlfriend to start a rival firm and undermine their former friend. Because the origins and breakdowns of these relationships are unclear, it’s difficult to sympathize with Ted as he tries to recover. It’s also hard to care much about his attempts to repair his relationships with former colleagues, friends, and lovers. The show is initially confusing and lacks sharpness, but that’s not its biggest problem.
Suits was so addictive because of its central premise: Mike (Patrick J. Adams) didn’t have a law degree, yet Harvey (Gabriel Macht) hired him because of Mike’s photographic memory, making him a legal prodigy. He consistently solved seemingly impossible legal problems by the end of each episode. The tension came from the constant threat of Mike, and by extension Harvey, being exposed.
Was it far-fetched that Mike managed to conceal this information for so many seasons? Absolutely. However, this core concept prevented Suits from becoming just another forgettable procedural show. The weekly legal cases were the secondary stories, while the primary focus was on Mike and Harvey’s growing bond as they conspired to hide Mike’s secret from friends, colleagues, and romantic interests. While it strained credibility, it provided the series with a vital foundation.
Suits LA lacks this central conceit. Instead, Korsh crams an overwhelming amount of backstory for Ted into a short amount of screen time. The current trend in television is to overuse flashbacks to reveal character secrets. Recently released shows have all relied heavily on this technique. While shows like and Orange Is the New Black used flashbacks to gradually develop their characters, newer shows seem fixated on using flashbacks almost immediately after introducing a character to explain their issues. This is likely due to the influence of streaming services like Netflix, which seem to assume that viewers will be distracted. Subtlety in dialogue is a thing of the past.
However, Suits LA may be the most confusing example of flashback usage. In the first episode, Ted frequently drifts off and has flashbacks. These flashbacks thrust us into scenes involving mobsters, a neglectful father, and an explosion, before cutting back to unrelated conversations in the present day. The effect is disorienting. There’s also a cringeworthy moment at the end of the first episode when a character’s identity is revealed. (You’ll likely groan.)
The confusing plot structure might be forgivable if the characters had the charm of the original cast. What’s also missing from Suits LA is the chemistry that Adams and Macht established from the moment Mike accidentally interviewed with Harvey. The characters’ respective issues—dead parents, a cheating mom, commitment problems—were revealed gradually over many seasons, not all in a single episode. Suits relied on the two main characters challenging each other’s carefully constructed facades to eventually expose their vulnerabilities. Reliable comedic performances from Rick Hoffman as the hapless Louis and Sarah Rafferty as the fierce Donna added levity to the show and completed the ensemble.
By the second and third episodes, Suits LA improves somewhat. There are still flashbacks and vague references to dangerous past events. However, there are also cases to handle, defendants to prove innocent, and, because it’s L.A., celebrities to name-drop. (In a line that has aged poorly even before the show premieres, Ted compares his GOAT-like status to that of Kansas City Chiefs quarterback.)
However, the result is closer to a generic procedural than the show that originally gained popularity on the USA Network. Amell delivers a respectable impression of Macht, combining arrogance and charm with occasional outbursts, but it remains an imitation. Why not simply hire Macht and create a series around him instead? The show is a weak imitation of its predecessor.