Inside Track

Summary

Sidebar: A Suits Watch Podcast – Episode Summary: "Inside Track"

Introduction

In the October 22, 2024 episode of "Sidebar: A Suits Watch Podcast", hosts Patrick J. Adams and Sarah Rafferty delve into Season 1, Episode 3 of the acclaimed TV series "Suits", aptly titled "Inside Track". Throughout the episode, Patrick and Sarah provide an insightful analysis of the episode's key moments, intertwined with personal anecdotes from their decade-long experiences on the show. This summary captures their comprehensive discussion, highlighting significant themes, character developments, and behind-the-scenes insights.

Episode Overview: "Inside Track"

Inside Track originally aired on July 7, 2011, and focuses on several pivotal plotlines:

• Harvey Specter tasks Mike Ross with finding a legal loophole in the bylaws of McKernan Motors to block the confirmation of its incoming CEO, Robert Stenslin.
• Concurrently, Mike faces pressure to host an extravagant rookie dinner that meets the demanding specifications of Lewis Hardman.
• Jenny Griffith returns to the storyline, confronting Mike about his absence from her and Trevor's lives.

Personal Reflections from Patrick and Sarah

Patrick and Sarah share their initial reactions to revisiting episodes they spent over a decade filming but never watched. They express a mix of nostalgia and emotional resonance:

• Patrick (01:31): “This was our first episode that we shot in Toronto... It was our first time navigating a new city while trying to recapture the pilot's magic.”
• Sarah (03:16): “I am feeling surprised and delighted... recognizing how much I've grown over the last decade.”

Key Scene Analyses

1. Relocating to Toronto

   • Patrick (05:07): Reflects on the transition to Toronto, highlighting the emotional strain of leaving behind personal lives and adapting to a new environment.
   • Sarah (08:01): Shares personal challenges, including leaving her three-year-old at home and the logistical hurdles of relocating.

   Notable Quote:

   • Patrick (06:52): “I just love talking to you. Sarah and I could do it for hours and hours...”

2. Character Development

   • Harvey Specter is portrayed as a highly strategic and cool-headed lawyer, evident in his interactions with Dominic Baron and his manipulation of the McKernan Motors deal.
   • Lewis Hardman is introduced as a formidable antagonist with a penchant for Shakespearean dialogue, adding depth to his character.

   Notable Quote:

   • Sarah (26:51): “...Donna is the person that's just pining for him because he's New York's greatest closer. I really want the relationship that happens here to be more complex.”

3. Mike Ross and Rachel Zane’s Dynamic

   • The budding relationship between Mike and Rachel is explored through their planning of the rookie dinner and their shared moments of vulnerability.

   Notable Quote:

   • Patrick (52:20): “He's not a fighter, a lover, not a fighter.”

4. Jenny Griffith’s Return

   • Jenny confronts Mike about hiding Trevor’s secret, leading to a significant emotional climax where Mike and Jenny share a conflicted kiss, highlighting the complexities of Mike’s personal life.

   Notable Quote:

   • Sara (56:02): “She was angry at him for hiding Trevor's secret, which is fair.”

Behind-the-Scenes Insights

Patrick and Sarah provide a rich tapestry of behind-the-scenes anecdotes:

• Filming in Toronto: They discuss the logistical challenges of shooting in a new city, including adapting to smaller sets and managing unexpected elements like raccoon infestations in their rented house.

• Handheld Camera Experimentation: Patrick notes an attempt to incorporate handheld filming techniques to enhance scene intimacy, though it was not fully embraced moving forward.

  Notable Quote:

  • Patrick (60:12): “Our show was very much not handheld from this point on, and that is one of those things I can see us trying to find the visual language of the show.”

Personal Growth and Emotional Reactions

The hosts reflect on their personal growth since the show’s inception:

• Sarah acknowledges how watching the episodes rekindles memories and emotions, comparing it to viewing a home movie that stirs both joy and nostalgia.

• Patrick shares his journey of falling in love with their collective experiences, balancing enjoyment with emotional depth.

  Notable Quote:

  • Sarah (66:58): “I felt like I could see me trying to find my footing...”

Conclusion and Closing Remarks

As the episode wraps up, Patrick and Sarah express gratitude towards each other and their listeners, acknowledging the emotional journey of revisiting "Suits". They hint at future episodes where they will continue to unpack more complex storylines and character arcs, fostering a deeper appreciation for the series.

Notable Quote:

• Patrick (69:58): “There has been a stretch of time where people started going, I just can't do this anymore.”

Notable Quotes with Timestamps

• Patrick J. Adams (03:29): “...we are trying to find a way to bring all of this insight in slightly a shorter amount of time.”
• Sarah Rafferty (08:01): “I was trying to get pregnant...”
• Patrick J. Adams (26:18): “You're here, and I'm here to be an actor today.”
• Sara Rafferty (33:34): “Excuse me, Mr. Spector. I was wondering if you might need a hand...”
• Patrick J. Adams (43:16): “...she is very goddessy in it.”
• Sara Rafferty (61:12): “It felt very intimate for the camera person and an actor.”

Final Thoughts

This episode of "Sidebar: A Suits Watch Podcast" offers a profound exploration of "Suits" Season 1, Episode 3, blending critical analysis with heartfelt personal reflections. Patrick and Sarah's dynamic storytelling not only illuminates the intricacies of the episode but also provides a meaningful glimpse into their enduring bond and growth shaped by their time on the show.

Transcript

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[Sara Rafferty]

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[Patrick J. Adams]

Hi there. I'm Patrick Adams. You may know me as Mike Ross.

[Sara Rafferty]

On the T. And I am Sara Rafferty. And you may know me as Donna Paulson on the TV series Suits.

[Patrick J. Adams]

And this is Sidebar a podcast where Sarah and I watch the series that we spent 10 plus years shooting but have never actually seen.

[Sara Rafferty]

So each week we're going to talk through an episode. We're going to try to tell stories from in front of and behind the camera. We're going to compare notes. We're going to have some memories. We're going to have some feelings. We're going to answer some listener questions and talk to some of our friends and colleagues and so much more.

[Patrick J. Adams]

But first, Sarah, there's something I've always wanted to ask you.

[Sara Rafferty]

What's that?

[Patrick J. Adams]

What is your engine design philosophy? It's a random quote from this episode, but important.

[Sara Rafferty]

Can we just get philosophical about it?

[Patrick J. Adams]

Yeah, yeah. No, that's. I want to. I literally want to know what your engine design philosophy Gratitude? Yes. Acceptance.

[Sara Rafferty]

Acceptance.

[Patrick J. Adams]

There is a pause for acceptance.

[Sara Rafferty]

Acceptance A little bitter pill to swallow, like.

[Patrick J. Adams]

Well, not so fast for the acceptance part.

[Sara Rafferty]

Trying to be kind to myself and others.

[Patrick J. Adams]

I like your engine already. I'll buy your engine. How are you today?

[Sara Rafferty]

I'm good. How are you? I'm so happy to see you.

[Patrick J. Adams]

I am actually in the studio. I don't know if you noticed, but I'm here in person. It's not a hologram.

[Sara Rafferty]

Can we touch?

[Patrick J. Adams]

Yeah. Look at this. We're holding each other.

[Sara Rafferty]

We're passing a pulse.

[Patrick J. Adams]

One episode away from Scotland, I couldn't take it. I had to fly back. I'm actually on a plane in just a few hours to go back, but luckily we got to fit this in while I'm in town.

[Sara Rafferty]

Thank you for making it work.

[Patrick J. Adams]

Oh, my God, of course. It's so much nicer to be looking in your eyes while we chat about this show we shot. How are you doing otherwise, though?

[Sara Rafferty]

I'm good.

[Patrick J. Adams]

Good.

[Sara Rafferty]

I'm good.

[Patrick J. Adams]

We're figuring this out.

[Sara Rafferty]

Oh, wait, I just did a mic laugh, kind of.

[Patrick J. Adams]

Oh, I got notes about that. We'll get to that. We're figuring this podcast thing out. How are you feeling so far? Let's have a quick episode. What are we in? 3, 4? Where are you at? How are you feeling?

[Sara Rafferty]

I am feeling surprised and delighted, which is my favorite thing to feel, which is the delight of reviewing this, and then kind of surprised at what is coming up for me and what memory. Memory's a funny. And we'll get to that as we work through it.

[Patrick J. Adams]

Yeah, I'm a quick behind the scenes. Basically, every episode we've recorded of this listener has been about 17 hours long. So we are trying to find a way to bring all of this insight in slightly a shorter amount of time, which I think is a fascinating process. But the truth is, I just love talking to you. Sarah and I could do it for.

[Sara Rafferty]

Hours and hours, and we are known to do that.

[Patrick J. Adams]

We do. We like to go on. But I'm so happy to be here and to chat about this episode. Should we dive into the brief, tell people what we're here to do today?

[Sara Rafferty]

Yes.

[Patrick J. Adams]

So today, today we're tackling season one, episode three, titled Inside Track, written by Aaron Korsh and directed by Kevin Bray. And it Originally aired on July 7, 2011.

[Sara Rafferty]

Yes. In this episode, Harvey tasks Mike with finding a loophole in the bylaws of McKernan Motors, the first client that Harvey brought into the firm that would allow them to block the confirmation of its incoming CEO. Meanwhile, Mike feels pressured to throw an extravagant rookie dinner that incorporates Lewis's outrageous demands. Plus, Jenny returns to tell Mike how she feels about him disappearing from her and Trevor's lives.

[Patrick J. Adams]

There's a lot in there, a lot of stuff happening in here. Let's get right into it. I want to talk about opening statements to this. Just like an overview of the experience of watching this. I know. We actually had a fan question that lined up with something that hit me. Our Amazing Firms researcher here, Kristen, found it and we thank you guys for sending in questions. Question was. Hi, Patrick and Sarah. I really love the show. Suits. Thank you. What was it like when you started filming and had to move to Toronto? P.S. i hope Troian will be in one of the episodes, Emma. So do I. You know what? She's in all the episodes of My life. Yeah, I'll tell you that.

[Sara Rafferty]

You're so lucky.

[Patrick J. Adams]

I'll tell you that right now.

[Sara Rafferty]

Yeah.

[Patrick J. Adams]

I don't know how I tricked her. I love this question because it did really line up for something that hit me before I even like from the first frame of this episode, which was the realization that this was our first episode that we shot in Toronto. We talked last week about errors in omissions was the name of it. Yes. But we, as we talked about that was shot, I think we discovered fifth. And this episode truly is watching all of us navigate moments after we arrived. Yeah, we've arrived in Toronto. And so I really, before I could even proceed into the episode, I kind of had to put myself back into that experience of, you know, that sort of wild experience of moving to a new city. Not a new city for me, which in some ways made it even weirder. It's where I was born and raised. And so I was returning to. I never thought I would be back there, especially so soon. And now I'm moving back to the city I was born and raised and to shoot this thing, but leaving my life behind. And it just, for me, contextualized the whole episode, you know, both for me as a person, like getting used to being away from Troian, who at the time was my girlfriend, and, you know, having to find a new place to live. I think I even remembered Gabriel living with me for the first week. We were both looking for places to live and Gabriel moved into my mother's apartment with me and we were like, hanging out, which was amazing and a really kind of cool way to start off the show. But it was just. I felt like I, throughout this episode, could see me trying to find my footing, could see the show trying to find its footing, you know, like, oh, wait, what are we here? With this new crew and new camera operators and like, everything was new. And we were sort of trying to recapture the magic of the pilot, which is a really, I think, hard thing to do. I think a lot of shows struggle with that transition from the first thing you do and then you wait months and months and months, and then you get picked up and then you show back up and you try and do more of the same thing you had done more. So that was my experience of watching it sort of framed how I took the whole thing in.

[Sara Rafferty]

I think it was interesting for me because I didn't. When we were watching Errors and Omissions, I wasn't thinking about that as much. But right when I started viewing this episode, I was like, oh, that was my first scene. And that dress, you know, like, there were things that made me remember. And I remember the actual logistics. You know, we get relocated and big air quotes around that. It's just you get a date that you need to arrive in this new city and you get a plane ticket one time, one time. For no matter how long you're on the show, you get one plane ticket and you are treated as if you've been relocated. But for me, it was a foreign country. I was crossing a border. It was not a place I was going to be invited to stay after my work permit was up. So I was not relocated. And I had a three year old at home.

[Patrick J. Adams]

God.

[Sara Rafferty]

And I was trying to get pregnant. And I remembered it like, right when we were watching this, I went right into my real life. I remember landing in Toronto, a city I'd never been in. It was not the prettiest month. It was a very.

[Patrick J. Adams]

Oh, Toronto in.

[Sara Rafferty]

I think it's April is the cruelest month.

[Patrick J. Adams]

It's not a great time, right?

[Sara Rafferty]

And if you make fun of me for quoting Chaucer, I'm gonna kill you.

[Patrick J. Adams]

Oh, my God.

[Sara Rafferty]

OR Is it T.S.

[Patrick J. Adams]

Eliot or. No, bring it in.

[Sara Rafferty]

Is it T.S. eliot?

[Patrick J. Adams]

Everybody quiet. Everybody quiet.

[Sara Rafferty]

It's T.S. eliot. It's T.S. eliot. Don't do it.

[Patrick J. Adams]

Don't go. I'm not gonna say a word. Go. Oh.

[Sara Rafferty]

Oh.

[Patrick J. Adams]

Quote it. You said you were gonna quote. Did you already quote it? Did I miss the quote?

[Sara Rafferty]

Yeah.

[Patrick J. Adams]

Oh, I missed it. I put it in.

[Sara Rafferty]

So what was it?

[Patrick J. Adams]

Oh, you did? What was the quote?

[Sara Rafferty]

It's April is the Cruelest Month.

[Patrick J. Adams]

That's T.S. eliot. Gosh.

[Sara Rafferty]

From the forecast.

[Patrick J. Adams]

I love you. Look at the brains on us.

[Sara Rafferty]

Look, my mom's an English Teacher. She would be so proud. I hope you're listening, Mimi.

[Patrick J. Adams]

We love you, Mimi.

[Sara Rafferty]

Your quotes. And we love you, Rowan.

[Patrick J. Adams]

She's already a huge fan of this show, by the way, number one fan.

[Sara Rafferty]

Of the podcast that's not out yet.

[Patrick J. Adams]

Yep.

[Sara Rafferty]

Okay. So anyway, I was saying about relocation. Landed in that city, the city I'd never been to, having left Santu and Una behind, and I didn't know how long I was going to be there. I had one night in a hotel room. They put us in the Park Hyatt for one night, and then we were on our own. And a car needed to be rented to get to set.

[Patrick J. Adams]

Oh, yeah. They weren't driving us in that first season. I remember that was quite a controversy.

[Sara Rafferty]

And it was all on us.

[Patrick J. Adams]

Yeah.

[Sara Rafferty]

And it was.

[Patrick J. Adams]

Yeah.

[Sara Rafferty]

Now that I look back on it, it was honestly watching this scene that we're going to get to that brought up all stuff I haven't processed yet, which was like, how destabilized. I mean, look, it's a first world problem. I'm not saying it's a real problem, but it was emotional. It was really emotional. I was really scared to leave my 3 year old.

[Patrick J. Adams]

You just said the word that was just pinging through my body. I was just so scared. I was scared. And this was my home. I was showing up to my. I knew my mom was there, everyone was there, and I was scared. Felt very destabilizing to just show up in a place and, you know, you just haven't figured out your rhythm yet. And then you're on set and you're like doing this sort of crazy job that feels very high pressured and you're trying to make the show great. It's just like energetically. I remember I was like dialed to 15.

[Sara Rafferty]

Every piece of me was so grateful and so excited. Dream come true. Oh, my gosh. The pilot got picked up, which had not happened a lot in my life at that point. And I think I just pulled on my big girl panties and was like, okay, I'm gonna line this up for my daughter and she'll have a play date and I'll FaceTime. And I'm gonna bring the book that I'm reading her so I can read it over FaceTime to her. And then, you know, when I get there, I don't know what I'm gonna do. And then I get this. I remember getting a text from Gabriel. It was like, do you want me to pick you up at the hotel to take you to work today? And I think I wanted to cry because I didn't realize, first of all, sweetheart.

[Patrick J. Adams]

Nice of you, Gabriel.

[Sara Rafferty]

Yeah. And just like, yeah, I do. I need some help. I'm really.

[Patrick J. Adams]

I need help.

[Sara Rafferty]

I'm really at sea. And so when I look through this now, we can get into the episode where I can say, I can see that girl is that person who's just like, yep, powering through. I'm here. My tail is wagging. I am bright eyed and bushy tailed and I am grateful. And probably underneath that, very close to the service, I am feeling very lost.

[Patrick J. Adams]

Vulnerable and scared about. Yeah, I feel like I felt that from everything that I was watching too. Not about you, about me. Yeah.

[Sara Rafferty]

Because you have no idea. We have no idea how long we're committed to this thing. So. I knew I was going to commute. Right? I knew for that first season I was going to commute. And we can get into that more later. You lived with Gabriel in the beginning. Then Gabriel and I rented a house together that our families could fit in and oh my God, ours was infested with raccoons. And the smell of the urine that was in the wall.

[Patrick J. Adams]

Oh, great. Great. I can't believe you did this with kids. Cause I had a dog. I had my dog Charlie, who sadly is no longer with us. But that was it. I just had this dog that I had to protect. And so I was in this new city with this little dog. I can't imagine having to do all of these. This transition with a three year old and everything that brings up now that I know what that brings up.

[Sara Rafferty]

So it was also logistically kind of hard to figure out how to make the three year old sibling.

[Patrick J. Adams]

Not a lot of time while I was away.

[Sara Rafferty]

Anyway. That's a different part of the. How does that work?

[Patrick J. Adams]

How does that work? What do you have to talk me through that?

[Sara Rafferty]

I just want to say this one thing about this episode, just one thing, and then we'll. No. Before it is as an opening statement. I can really understand why errors and omissions was moved based on how that episode that we talked about last week had so many more scenes that were comedic and how it really helped set up Lewis character as a comedic character that makes you laugh in advance of this episode where you still giggle here and there. But Lewis is more overtly drawn to be the guy that you're gonna hate. So I think it was incredibly important for Lewis arc to switch that viewing order.

[Patrick J. Adams]

Yeah, I think in general, I just felt like I said before, we were all finding our footing. I loved it. There's so many things in this episode, and it was still so inherently all the great things that we love about suits. But you can feel us all figuring it out in real time. I could feel it in the episode, not just us in front of the camera. I feel like I could see Kevin trying to figure it out. You know, you have a whole new crew of people. You have all these people that, you know, none of them were on the pilot. So you're all relearning the process. And I could feel it in this episode in a way that I found kind of charming. When I realized what was going on, I was like, look at us all trying to figure out how this works. And the fact that we found it by episode five. Cause that's what that showed me is by episode five, we were locked in. I think a lot of shows takes a lot longer than that to get back to the original thing that made it special. So I was fascinated by this episode. So, anyway, let's dive in at the very beginning.

[Sara Rafferty]

We open our eyes.

[Patrick J. Adams]

That's a very good place to start.

[Sara Rafferty]

Biking through New York.

[Patrick J. Adams]

With a helmet.

[Sara Rafferty]

With the helmet. And I just wanna say right now, just quick sidebar. My favorite piece of wardrobe, my fashion police honorable mention, is the helmet. And if you've listened to this so far, you'll know why I'm choosing that. But there is a great song playing Perfect needle drop called Perfect Day by the Constellations.

[Patrick J. Adams]

Kevin's great with the needle drops. But do you notice how when Mike pulls up to the car place after the scene, he is not wearing the helmet? Did you notice that?

[Sara Rafferty]

I just noticed that.

[Patrick J. Adams]

Oh, yeah.

[Sara Rafferty]

Nice eye. Good eye.

[Patrick J. Adams]

Well, because that's a scene where the bike pulls up and I'm no longer in traffic, legally, I didn't have to have the helmet on. So, you know, you only have to have it because you're in the street and shooting with cars. And that's when, like, you know, the parent companies are like, absolutely not. You have to have the helmet on. But you can see. I decided with Kevin, I wouldn't have done it on my own, that because I'm not in traffic, the helmet just literally disappears from the scene of me going through traffic to me pulling up, which doesn't make a lot of sense.

[Sara Rafferty]

And I just want to say that as your big sister, watching you weave through that traffic, first of all, it looked so fun because obviously it had to be a controlled experience because you were shooting it. Right? But I can't believe that when I lived in New York and I Was the age that Mike was at this time that I would do that on Rollerblades.

[Patrick J. Adams]

Rollerblades in New York City?

[Sara Rafferty]

Bonkers.

[Patrick J. Adams]

Oh, God, I would pay for that footage.

[Sara Rafferty]

I have grown into the risk averse human that I am.

[Patrick J. Adams]

As we do. As we do. I'm almost there.

[Sara Rafferty]

But, oh, for a city with bike lanes and city bikes so that we could live our best life. As if.

[Patrick J. Adams]

You can see how much I love it. Me skinny like, I live for that stuff. And you can see it on my face, how excited I am in traffic.

[Sara Rafferty]

But anyway, I think this needle drop makes the whole opening work in a really amazing way. And I just want to tell you that I'm going to listen for the interstitial music that you brought up before.

[Patrick J. Adams]

So now we're into the car club where Harvey is looking for his car for the evening, which I found. Do people in New York do this? Do they look for an evening car? Because I've driven. Driven in New York. It doesn't seem that much fun to rent a car for the night. But anyway, Harvey's doing it. He's looking for a fancy car. Then we have this strange Tesla commercial, which is funny now in retrospect because that was when the Tesla was this mysterious quarter million dollar vehicle in that. I'm not a car guy, really. But it was funny to see the Tesla be this. It's still a fancy car, but it was a Lamborghini or something in there. And we get to meet Matt Cook playing Lawrence, who's to get the Tesla from under Harvey. And Harvey ends up letting him have it because it doesn't hurt to have a guy who runs a $2 billion hedge fund owe you a favor, just like you've always said. So we have this great scene again where we're getting to know Harvey. We see that he's always thinking, he's always on his feet. And then just as Harvey decides to go old school and pull away in his. I think it was a Mustang or something, Mike arrives in his bike San's helmet. That tells him that he's late.

[Sara Rafferty]

That shot of Harvey driving away was very cool. Just added to the cool factor of Harvey.

[Patrick J. Adams]

He's so obnoxiously cool. You know, if you put me driving that car, it would look so weird.

[Sara Rafferty]

And you see that's not true.

[Patrick J. Adams]

No, no, I'm not trying to be. It's just a different. Especially in the context of the show. It wouldn't make sense. But you see him in that car and it all clicks like classic Hollywood star. It's very cool. Where do we go from there?

[Sara Rafferty]

We go to the Javits Center.

[Patrick J. Adams]

The Javits Center. Fun fact. Which is where we had the suits upfronts 2014 and 2015. And shot at an iconic Toronto location, the Roy Thompson Hall.

[Sara Rafferty]

Beautiful. Such a great place. But what are the logistics of getting these cars into Roy Thompson Hall? What is the budget of something like that? So on the second episode, they were willing to gather those cars together somehow, wheel them in, put them on platforms.

[Patrick J. Adams]

That must have been an F1 car, like our car.

[Sara Rafferty]

I mean, I was thinking I was going to make a really gendered comment about, like, ooh, that must have been so fun, all the boys and their toys. But that makes no sense now, because now that my girls are teens and preteens, they are obsessed with drive to survive. They are totally into F1. Know all the stats. They go to car shows. One of them is like, I'd like to design. She wants to be potentially one of these car designers. So cool.

[Patrick J. Adams]

I remember walking onto this set and being like, oh, wow, we are on a fancy show with some money. This is cool.

[Sara Rafferty]

But was everybody excited about the cars?

[Patrick J. Adams]

Yeah. Again, like, I had so many of my memories of this is just being a big transition. New city, new show. I was. I feel like I was just like, get your lines right. Don't screw this up. You know, how expensive everything is around me is just more pressure on. Like, don't be the one to drop the ball is sort of how I'm feeling at this.

[Sara Rafferty]

So Harvey introduces Mike to Dominic Baron.

[Patrick J. Adams]

Played by Titus Welliver, the one and only Titus Welliver.

[Sara Rafferty]

And I just want to say, for the record, your honor, he has really dreamy eyes.

[Patrick J. Adams]

He has dreamy everything. This man is a badass. And he was, you know, I was a big fan of Titus. He's been on so many things that are hard to count. But at the time, I had been a huge Lost fan. And he was on Lost. And so to show up on set, you know, I'm not. I was a guest star before suits, you know, I was the guy that showed up on a set and tried to, like, get in with everybody for a week, and then you disappear. And to be on a show where I was like, oh, this is our show and Titus Welliver is here. Episode one. I was.

[Sara Rafferty]

I've made it.

[Patrick J. Adams]

I was a little starstruck. I mean, and he's so good in this episode. So I kind of understated. And he just said so much with so little. So it was very Cool to have him play Dominic, the designer of the engines. He holds a grudge against Harvey about labor negotiations at this McKernan factory. I don't know if we've said that yet, but this is all about McKernan Motors.

[Sara Rafferty]

Yeah. And labor negotiations. That hits steeper.

[Patrick J. Adams]

And then not only do we have Titus Welliver, we have this actor, Hamish McEwan, who I'm not as familiar with, but was a real standout. He plays Robert Stenslin, the incoming CEO of McKernan Motors. And Robert is impressed that Mike pulls his infinite knowledge of the local bylaws and such.

[Sara Rafferty]

So I'm always gonna love those superhero Mike moments.

[Patrick J. Adams]

Yeah.

[Sara Rafferty]

So the problem that Mike and Harvey have to solve is Robert wants Mike to work on a deal to sell McKernan Motors land and move the factory overseas. Harvey disagrees and wants Mike to find a way to legally block Robert's CEO appointment. I can get behind that.

[Patrick J. Adams]

Great setup for the episode.

[Sara Rafferty]

Yeah, I think it's good. Time to take a quick break.

[Patrick J. Adams]

Hey, let's take it. You know what? Let's take a break.

[Sara Rafferty]

Let's take a break.

[Indiana Jones]

Uncover one of history's greatest mysteries in Indiana Jones and the Great Circle, a first person single player adventure video game set between the events of Raiders of the Lost Ark and the Last Crusade. The year is 1937. Sinister forces are scouring the globe for the secret to an ancient power connected to the Great Circle. And only one person can stop them. Indiana Jones Adventure calls Indiana Jones and the Great Circle releases on December 9th on Xbox Series X&S Game Pass and PC Pre Order Indiana Jones and the Great Circle now. Now. Rated T14. Copyright and trademark 2024 Lucasfilm Ltd. All rights reserved.

[Patrick J. Adams]

This show is sponsored by BetterHelp. Sarah, you know, we're going into the holidays and there's no more important time to talk about gratitude.

[Sara Rafferty]

Look, I was so grateful last week when I was struggling with being away. We were both away on set and we had a nice phone call, and you helped me get reconnected with my gratitude.

[Patrick J. Adams]

Yeah. I think it's so important in my life to practice gratitude as much as possible, because sometimes life can get pretty heavy and it's the quickest way out of that slump. That's why we're so happy that the show is sponsored by BetterHelp. You know, this month is all about gratitude. And, you know, what I want to say to you, Sarah, is thank you. It's been such a pleasure getting to do this with you. And I know we've talked a lot about mental health, but it's really helpful with us both away shooting away from our families to have someone to talk to through it. So I want to say thank you.

[Sara Rafferty]

Oh, thank you, Patrick. I'm so grateful for you too, as you know.

[Patrick J. Adams]

But there is one other person that we don't think enough, and that is ourselves. Sometimes it's hard to remind ourselves that we're trying our best to make sense out of everything. And in this crazy world, well, that's just not that easy. So here's a reminder to all of you to send some thanks to the people in your life, including yourself. And if you're thinking of starting therapy, please give better help a try. It's entirely online, designed to be convenient, flexible, and suited to your schedule. Just fill out a brief questionnaire to get matched with a licensed therapist and switch therapists anytime for no additional charge.

[Sara Rafferty]

Let the gratitude flow with BetterHelp. Visit betterhelp.comsidebarshow today to get 10% off your first month. That's BetterHelp H E L P.com Sidebarshow.

[Narrator]

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[Sara Rafferty]

Hi, we're back.

[Patrick J. Adams]

Welcome back.

[Sara Rafferty]

Welcome. We're back.

[Patrick J. Adams]

So we're back. We come back from the teaser and what's happening?

[Sara Rafferty]

Mike is still in yesterday's suit and he wakes up on his couch in a pile of bylaws.

[Patrick J. Adams]

God, he loves swimming in bylaws. He can't get enough of bylaws.

[Sara Rafferty]

Come on into the bylaws. It's warm in here.

[Patrick J. Adams]

It's the super. If you noticed in this episode, there's always like, well, did you check the bylaws? He's in the bylaws. I'm realizing, like, oh, it's a really useful story tool to just send Mike a digging through some bylaws. You never know what you're gonna find in the bylaws.

[Sara Rafferty]

I think we need to make merch.

[Patrick J. Adams]

Yeah, that's true. Check the bylaws. Check the bylaws. Yeah. So we got Mike waking up on the couch. He's a mess I love. I just love seeing. I love the contrast of Mike, the mess on his couch in his weird apartment and Harvey Spector. I'm still not tired of it. It's fun for me to see these.

[Sara Rafferty]

And I noticed that we're on, I don't know, BlackBerry's. His phone's ringing. It's in his back pocket. He can't find it. And we did a special on the phone, a special being, like we insert a shot, a shot of the phone and so that we can read what it says. And I think ultimately we really moved away from that. I think we moved away from using phones. I mean, people showed up at other people's apartments.

[Patrick J. Adams]

I think. Yeah, there was a lot of times when a scene wouldn't have happened if someone had just called another person. But I think we did have iPhones by the end of the show. Or I think it was like Mike had an iPhone, but Harvey had a.

[Sara Rafferty]

Sarah did not have an iPhone.

[Patrick J. Adams]

I don't remember. I was like, I might have it wrong.

[Sara Rafferty]

Pilot flip phone.

[Patrick J. Adams]

A Sidekick. So then Donna greets Harvey at her desk and hands him an envelope, which in suits land is always important, those envelopes. Jessica escorts Harvey to a conference room.

[Sara Rafferty]

And so I feel like this is a spot that I could stop for a second to talk about with you, my friend Patrick, because hit me. I didn't realize until we were watching this that I think this was my first scene. It just kind of washed over me as like. Oh, like I could feel the sort of nerves of it. I could feel the feeling of being in that really uncomfortable, very itchy, ill fitting dress. And what I remember, one of the things that I remember is that we didn't have a dialogue yet with our directors necessarily about what the shot was, which is something that you start to get concluded on. Even though it was Kevin, Kevin was doing a pretty special shot where it was a famous Kevin oner where he was moving all of us kind of in and out of a mourning scene. And so when I got up from the chair to hand Harvey that envelope, I remember this so well. Gracefully, Kevin moved the camera on to having Jessica enter and then carry him down the hall. And then we can cut back to seeing where Rachel and Mike are, I believe. But I remember when we did that, it was so fast, they never turned around for coverage.

[Patrick J. Adams]

Coverage being when you, like, change the camera angle to see the other person in the scene's face.

[Sara Rafferty]

Yeah. So like, first you do that way and then you do the other way. And I kind of was like, oh, oh, okay. Okay. So I'm not gonna get covered on this show. That's fine.

[Patrick J. Adams]

I do my thing.

[Sara Rafferty]

I understand. I understand. And where I am now.

[Patrick J. Adams]

So we'll come back to that. We definitely had that experience on sets before where you're like. It's a very humbling moment where you're like, oh, I'm here, and I got dressed up, and I'm here to be an actor today.

[Sara Rafferty]

My line on camera and the director's.

[Patrick J. Adams]

Like, it is not about you today. And you're like, oh, I woke up thinking it was somewhat about me, and it's not gonna be one of those days.

[Sara Rafferty]

And it wasn't even about that. So for me, it was just like, donna floats through. And I was just like, okay. It was just, like, noted. It wasn't a thing that registered yet. Because, remember, I think we've had a conversation where I was like, I am very comfortable kind of hiding as the woman behind the man. But it's a pretty flirty, quick moment between Harvey and Donna where he says something about how she slept.

[Patrick J. Adams]

It's a funny line. Did you get it?

[Sara Rafferty]

Picked it up yesterday.

[Patrick J. Adams]

Did you sleep with it under your pillow?

[Sara Rafferty]

How I sleep is none of your control.

[Patrick J. Adams]

Yeah, neither is the Yankees batting order, but that doesn't stop me from thinking about it, so I don't actually remember. You're saying there was no coverage of your face even further. It's no business of yours how I sleep.

[Sara Rafferty]

Correct.

[Patrick J. Adams]

That is not covered.

[Sara Rafferty]

Correct.

[Patrick J. Adams]

Wow. I didn't catch it. And that is. That's no bueno.

[Sara Rafferty]

And. Well, no, it was when you see the cut because of how Kevin is creating the pace of an early morning and not, like, lingering on that moment.

[Patrick J. Adams]

Because it's getting him right into Jessica, and then they're gone.

[Sara Rafferty]

It's so good. It's such a good shot. What I remember thinking when I read the script on that line was I really just wanted this line to be a quick piece of office banter. I did not want it to be, like, a thing that she was maybe into him in a sad kind of unrequited way. And it was probably one of the first times that it crossed my mind that I wanted to steer clear, specifically of that trope while being totally open to the fact that these guys have a past and they're very close and they're. They really mean a lot to each other. But it was the first time that I went like, ding, ding, ding. I want the relationship that happens here to be more complex, I will say, than just the Trope of, like, she must be pining for him because he's New York's greatest closer. Like, I was just clear that I'm like, I'm gonna play against that. Cause I really don't wanna give them any ideas to write into that. Not that I had that kind of control, but does that make any sense to you? That I had an aversion, like, out of the game?

[Patrick J. Adams]

Well, I think you're smart. I think you knew, like, oh, that's not going to buy me a lot of time on this show. You know what I mean? Like, if I'm just that girl, then this is. That's the least interesting version of that. This woman is the one that's just pining after this guy. And you're smart enough to have recognized that, like, really early on, it sounds like.

[Sara Rafferty]

But also, the person that Harvey can't live without is not a person who's pining.

[Patrick J. Adams]

No, at the opposite.

[Sara Rafferty]

Exactly.

[Patrick J. Adams]

If he sensed that at all, you know, I bet he'd be like, I can't have that. Right.

[Sara Rafferty]

And she's the person who has everybody's number. So, like, going back to the conversation that we had last time where I was just a fan and just excited about Harvey and Lauren to get together, when we left that conversation, I was like, you're right. We already do know that Harvey's a bit of a player. If Lauren were my child, I'd be like, uh, no dates with him.

[Patrick J. Adams]

Yeah.

[Sara Rafferty]

So now it's all coming back to me that that was something that I've very specifically thought about in advance of this scene.

[Patrick J. Adams]

Anyway, this all speaks to what I've said before, and I'll continue to say it again. There's this, like, people don't know what they've got in Sarah Rafferty yet. And while I can only imagine that's actually kind of painful, but it just takes them a while. And so I see scenes like this, and I'm like, oh, you don't get it yet. You don't know, but you're gonna figure it out. Sweet. So then Mike stumbles into the office. Paper's falling out of his hands again. You can see me trying to, like, repeat some stuff from the pilot and hold onto his sort of he can't take two steps without making a mess routine. And then we're back at Donna's desk. Donna tells Mike that Harvey is at his senior partner initiation and gives Mike a lesson on senior partners. I love. They did shoot your coverage on this scene, and you basically have two no's in this scene, right? And then you explain the senior partner initiation. But there's a look that you give to the I put the folders on your little cubicle. You say no in that way that only Donna can say no. And then I ask you a question and I put the folders back on it and you give a look to the folders. That is Emmy worthy. I think you mentioned to me that you had a lot of nos in like, a big part of Donna was a saying no to things without it being.

[Sara Rafferty]

This was the second script, right. And every scene Donna had said pretty much had said no. And so, I mean, look, it's so stupid nerdy, but it was okay. All we really have is script and then what's the words that are on the page? And then you've got to create like the character and the backstory about it. So I had this whole conversation with one of my dearest friends and this incredible acting coach, Warner Laughlin, and we were just like, yep, Right now we lean into the fact that she just loves to say no.

[Patrick J. Adams]

Like, I love that you were coaching. I love that you were coaching on the line. No. But you know what it shows? It shows you have only a no. And I learned so much.

[Sara Rafferty]

But I mean, it's like, who's the person who really just says no constantly, all the time and loves the shit out of saying no?

[Patrick J. Adams]

So good. You know, at sidebar, I didn't tell you this, but the theater nerds in us will love this. Do you know what? I flew to Toronto a week early before we shot this season. Do you know why?

[Sara Rafferty]

To see somebody in a play.

[Patrick J. Adams]

Even worse.

[Sara Rafferty]

What?

[Patrick J. Adams]

I signed up for a week long Alexander workshop.

[Sara Rafferty]

Oh, yes, you did. Yes, you did.

[Patrick J. Adams]

For those uninitiated, Alexander's sort of actors movement technique theory, it's about people already falling asleep. I figured the theater kid in you would be very proud of the theater kid in me. I decided before I go shoot my first season of television, I should really do a week long actors workshop in Toronto.

[Sara Rafferty]

We can both make fun of it, but, like, let's face it, it's about opening.

[Patrick J. Adams]

We cared. I think the moral of this story is, the reason I bring it up is like, we cared. Like, we wanted to do a good job here. We really cared, like, about bringing our best selves to this thing. And I think that's adorable. Good job, guys.

[Sara Rafferty]

Okay, and then we have a scene where Harvey officially becomes senior partner.

[Patrick J. Adams]

Then in the next scene, Lewis approaches Mike's desk and hands him a list of foods he's allergic to. And informs Mike that he must plan and host the traditional rookie dinner for his fellow 50 associates. Lewis leaves a handshake hanging with Mike here. Earlier, Harvey didn't high five him. Robert denied his handshake. There's a whole series of. There's two things that seem consistent for Mike in this episode. He is late in every scene, and everybody calls him out on it. And he's always trying to make some physical contact with somebody and nobody will let him.

[Sara Rafferty]

There's, like, a lot of status stuff going on.

[Patrick J. Adams]

Yeah, there's that great moment in the teaser. I go to shake his hand, and he hands me the champagne flute. I love stuff like that.

[Sara Rafferty]

Oh, my gosh. So we're gonna use some of that interstitial music that you once talked about. Start right here. And. Yeah, and I. You know, look, the jury's still out on for me in terms of how I feel about these things, about the music. About this interstitial music that you talked about being the surfing music.

[Patrick J. Adams]

Hey. Which, by the way, I'm already getting into. Like, I'm episode three, and my mind is a changing.

[Sara Rafferty]

Okay, so that's where I am because it leads right into Harvey walks through the bullpen and another associate, Danny Mac. Danny MacDonald, offers assistance to Harvey, but is shut down when Harvey calls him.

[Patrick J. Adams]

Alan because his name is Aaron.

[Sara Rafferty]

Okay, I think this might be the best line in the episode.

[Patrick J. Adams]

Yeah, let's play it.

[Sara Rafferty]

There's gonna be some of the interstitial music.

[Patrick J. Adams]

Excuse me, Mr. Spector. I was wondering if you might need a hand sometime with one of your matters. Anyone? Well, Alan, what's. Aaron, I think that says it all, don't you?

[Sara Rafferty]

Gabriel played that perfectly.

[Patrick J. Adams]

Oh, wow.

[Sara Rafferty]

And how do you feel about the.

[Patrick J. Adams]

Music slapping that bass? Man, There's a lot of bass slapping in this episode.

[Sara Rafferty]

It's made me want to groove.

[Patrick J. Adams]

You know what? It's goofy, but it's growing on me. I don't know why. And I. Look, I don't want to talk any crap about this show. And the people. I mean, the people who work on and picked the music, they had a good reason for it. And I think it becomes a fabric of the show. What I'm interested is I do feel like it maybe changes and sort of evolved and maybe matured a bit. This feels like we're in the earliest part of the show. And I'm curious to track interstitial music. We should, like, take clips a bit.

[Sara Rafferty]

I got another spot for you coming up. Okay, I'll let you know.

[Patrick J. Adams]

Great. But I think it, like, changed. And we weren't afraid to let moments linger a little bit more as we went on in further seasons. So I think I'm just curious about the evolution of the interstitial music. I mean, you know, hopefully one day we'll have, like, Jeff Wachtell on here to talk a bit about it. Cause he was sort of responsible at UCP for building that era. But there was a very similar tone. Not too dark, you know, not afraid to, like, maybe have some moments of seriousness, but always pivoting back to a lightness that I think really evolved also with our show. Because after our show, Mr. Robot, we sort of pulled them out of Blue sky, not out of. Because I think we always were in that realm, but we were allowed to make things a little more serious. We were allowed to have things land and not have to it be as funny all the time. And then Mr. Robot came out after us, and Blue sky was over.

[Sara Rafferty]

Yeah.

[Patrick J. Adams]

And then we broke Netflix, and now it's all coming back.

[Sara Rafferty]

So Mike is struggling to find a location for the rookie dinner, and Harvey's struggling to find a CEO for McKernan Motors. Mike suggests Dominic. Harvey explains to Mike how important it is to just get it.

[Patrick J. Adams]

Oh, there's a lot of getting it. It's a running theme in this. You got to get it. Who's getting it? Are you getting it? You don't get it, which is great. I didn't quite understand the turn in this. Maybe I'm overthinking it. But you have Marvy. Marvy. You have marvy.

[Sara Rafferty]

Oh, we will talk about Marvy at some point. There will be some fan information about that. I saw some of those questions, but.

[Patrick J. Adams]

We'Ll sidebar that it's a fanfic sidebar. Didn't quite understand the turn in this scene. It starts when Harvey is saying, you better not be prioritizing that dinner. And then Mike gives him the idea for who should be CEO. And then he gets frustrated with Mike. And then he tells him he needs to care more about the dinner, which, you know, there's no pleasing this guy Harvey, especially if he's in a rough mood. Mike can't win.

[Sara Rafferty]

Also, my question to you is, is Harvey offering, like, great career advice here? He says, first impressions last. You start behind the eight ball.

[Patrick J. Adams]

It's a great line.

[Sara Rafferty]

You never get in front. Yeah.

[Patrick J. Adams]

No, I mean, the final lesson. I was like, that's pretty strong.

[Sara Rafferty]

I also think that it's really fun that Harvey, like, super fast sidebar, says, you can't use that restaurant that Mike was considering because it's a Wachtel Lipton client.

[Patrick J. Adams]

So we've got Jeff Wachtel, Jean Cl. Jeff Wachtel runs ucp. Gene Klein is one of our producers. But who's Lipton Lipton?

[Sara Rafferty]

We'll have to ask. But also, it was Aaron. The guy's name was Aaron.

[Patrick J. Adams]

Oh, that's true.

[Sara Rafferty]

Yeah. So we also.

[Patrick J. Adams]

The name of our showrunner.

[Sara Rafferty]

Right. Okay. So here between these scenes, Harvey leaves, Mike walks to Rachel's office. And this may be the place where I'm missing the interstitial mutation.

[Patrick J. Adams]

Was it totally quiet? I don't remember.

[Sara Rafferty]

It was. It was like. I feel like maybe there's a little sound of your feet on the carpeting. There was general sound of the inside of an office building. I can't tell yet, but I felt like it might have been too much if the music was there. But I also felt that the pace slowed for a second on your entrance, and I didn't think it helped.

[Patrick J. Adams]

Interesting. I'll have to go back and watch. I think what's my problem with interstitial music in general is on any show, it's like, music is there to guide my experience of a show. Right. Like. Like, tell me how to. How seriously I should be taking a thing or, like, don't take it too.

[Sara Rafferty]

You know, like, help me transition out of one thing into the next.

[Patrick J. Adams]

I think as a viewer, I'm always like, what are you. Why are you trying to make me feel away? But you got to embrace that this is what suits is. Again, we're also figuring it out, and it's also giving me the cue of, like, hey, stay in this mood. And I think maybe a lot of the jokes and the lightness of the show wouldn't land if you didn't set it up probably properly.

[Sara Rafferty]

So, yeah. So Mike visits Rachel's office to try to get her help with a rookie dinner. Because Rachel's a foodie, and she talks about a pizza that I would never, ever want to eat. Would you?

[Patrick J. Adams]

What was the kind of pizza do we remember?

[Sara Rafferty]

It was like, shrimp, goat cheese.

[Patrick J. Adams]

I don't remember shrimp on it. Goat cheese, tomato.

[Sara Rafferty]

It was like red pepper, shrimp and goat cheese.

[Patrick J. Adams]

There is shrimp on it, and I.

[Sara Rafferty]

Don'T want to put the shrimp in my goat cheese.

[Patrick J. Adams]

Yeah, Like, I'm a pretty basic when it comes to the old pee.

[Sara Rafferty]

Okay, so no to the pizza. No, please, on the pizza. Okay.

[Patrick J. Adams]

Yeah. I wouldn't eat that pizza. So then Jenny knocks on Mike's apartment door as he's getting ready. Just. Can I say how happy I was to see Jenny again?

[Sara Rafferty]

Yes.

[Patrick J. Adams]

I feel like an episode away from her. And I was like, oh, right, wait, I miss this person. And then she just hauls off on Mike. Just a hard smile.

[Sara Rafferty]

Did that hurt? Do you remember?

[Patrick J. Adams]

I think again, I was in, like, actor mode. I was like, really hit me. Really hit me.

[Sara Rafferty]

Hit me.

[Patrick J. Adams]

Really, really hit me.

[Sara Rafferty]

Don't break my jaw. It's real. But hit me.

[Patrick J. Adams]

So she probably did hit me.

[Sara Rafferty]

She is so sweet.

[Patrick J. Adams]

Although knowing Vanessa, she probably was like, I can't donate. She's so sweet. I don't want to do that.

[Sara Rafferty]

She was really good in this scene.

[Patrick J. Adams]

I love it. She's wonderful. She's angry at him for hiding Trevor's secret, which is fair, I think, to be lying about the fact that her boyfriend is dealing the best weed on planet Earth. And then this really brought up for me. We're building up, I guess, a triangle between these two, which I'm sort of reliving now that I'm like, oh, yeah, of course. He sort of had these two love interests. And so a good check in is like, after this scene. Like, where are you at as a audience member on the Jenny or Rachel of it all? Are we rooting for Mike and Rachel at this point? Because clearly the show is trying to set it up.

[Sara Rafferty]

Yeah, I don't know. I really am. I have a real aversion to Team so and so. Team so and so. Fair enough, fair enough. But that's just my bias. I hope everybody wins. You're all pretty. Harvey finds Lewis having dinner at a nice restaurant with Robert Stenzlin. And Lewis is interfering with the McKernan Motors sale because Harvey is moving too slow. Harvey is able to continue to stall the deal. Okay, so this scene, I think, is so important because it is beautiful character development for Lewis. I just wanna say he has starts with a line where he says apparently the diligence wasn't proceeding apace. And I just wanna tell you that is spoken like a man who knows about Shakespeare and, you know, maybe even Commedia dell'arte. I mean, he might be able to spell.

[Patrick J. Adams]

Here we go.

[Sara Rafferty]

Lotzi. I just wanna say that last week.

[Patrick J. Adams]

This is the situation we call.

[Sara Rafferty]

Maybe I was maybe channeling the Dorkiness of Lewis and maybe one of the reasons why we dislike him.

[Patrick J. Adams]

You want to talk about merch? We are getting lotsy on a mug right away.

[Sara Rafferty]

But it is really great character development, I think.

[Patrick J. Adams]

And then Mike and Grammy are playing checkers, and Mike confides that he's worried about. Great line in here, right? Grammy's has a history with a man she went to Russia with. Did you guess that? I was like, what? Whoa, What? What?

[Sara Rafferty]

We all have history.

[Patrick J. Adams]

Love it.

[Sara Rafferty]

So does everybody's heart leap when we get to see Grammy. Like, what is her particular kind of sorcery? I never got to meet her. You have to tell me about her. I want to know her.

[Patrick J. Adams]

She's just. She was wonderful. Rebecca Scholl, she's an amazing actor. We were so lucky to have her. She'd have to, you know, come up now. We shot originally in New York, which is where she from, but now again, we're in Toronto. So she's like, you know, flying up to Toronto. She's an older lady, and she was, you know, having to make the big trip up to Toronto and, like, get in the hotel and come and be with us. And she couldn't have been a, you know, more excited to be there. She's somebody who's obviously been on so many shows and been doing this for so long, but she still brought such, like, a kind and loving energy, and we had a really good thing going. And I think it's just a gift to the show because you don't get family members on the show, at least not for a bit. We don't get to, like, meet Harvey's dad or Harvey's brother. You know, this is. This is a show about work. This is a workplace environment. And so I think, you know, a real gift for me as a character too, to have that other person to play with that other energy of, like, you know, this is what set everything in motion, was Mike's desire to do something for his grandmother. So I'm really happy that she managed to, you know, be at least a small part of Mike's backstory throughout this season. And we couldn't have been more lucky to have her as an actress.

[Sara Rafferty]

So later that night, Jessica is waiting in Harvey's office to question him about his plan. He confesses he once Robert out, and Jessica reminds him that it's not his job to tell Stenzlin or Jessica how to run their companies and that he needs to close the deal.

[Patrick J. Adams]

She's so good.

[Sara Rafferty]

I loved this scene. I loved the blocking. I love how she starts out in his chair. She's in the power position. I like the way she moves away from behind the desk and how she attunes to Harvey's emotional weak spot. And she's just very goddessy in it.

[Patrick J. Adams]

It's really good writing, too. Like, this is where I think Suits is at its, like, absolute highest power when there's these, like, real big chess moves of powerful people doing things like, that's hard. It's hard to, like, make convincing and real. And yes, you know, you have Jessica Gina Torres, unbelievably powerful person who just sort of owns the space and just great writing. I just find that they do such a good job of really differentiating the kind of power that Jessica has in the room versus Gabriel because they're both very power. Harvey and Jessica, they're both so powerful. But she's got this other thing that we get into, which is she is the firm. She's thinking on this whole fourth dimension that Harvey can't quite get there yet because there's still a bit of him that's selfish and not thinking outside of himself, which is a big part of what Mike's trying to teach him too. So I don't know, I just love the full circleness of that. I think that's really great writing.

[Sara Rafferty]

I think that's a perfect time to take a quick break and then maybe we can get more into that triangle you were talking. Although, you know, I refuse to take sides.

[Patrick J. Adams]

We'll be right back.

[Narrator]

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[Patrick J. Adams]

I really love my life. All right, we're back. The next day, we're in Harvey's office. Harvey assigns Mike to prepare a draft of a new CEO speech. Harvey's going to convince Dominic to take the job. There was something I noticed in this scene that I wanted to ask about. There's a thing that happens to us as actors sometimes when we are asked to be somewhere on set, you know, which to get to set, you wake up and get in the van or drive there and you put your clothes on, you go through hair and makeup and you show up. And then you are sometimes essentially in the background of a scene. And sometimes it's really essential you need to hear that thing happen in the scene in order for another scene to play out. But then sometimes, like in this scene, I noticed on my way out the door, you are standing there. And I seem to have some memories early on of us having to nuance, figure out when this was appropriate and when it wasn't. Because it's never something you want to do to an actor unless it's really necessary that they be there. And there was probably no shortage of scenes, I imagine, where Donna had to be there to hear a thing. But it'd be a long scene between Harvey and Mike, and Donna would have to hear it. So sometimes once we had our act together, we'd like shoot Donna hearing it first so that you could go home and we could shoot the whole scene or something like that so that you get the person out of there. But in this scene, I'm not wrong.

[Sara Rafferty]

Right?

[Patrick J. Adams]

You were standing there the whole time? Yeah, the whole time. Do you remember, was it like they wanted to have you reacting to this scene? I mean, it's just anytime we're shooting a scene, Donna should be there outside watching.

[Sara Rafferty]

Yeah, I think we were trying to figure that out. I think they also realized, like, ooh, we put her desk where in the camera angles, we're gonna know if she's or not. And so they started to think about that. But I think at the time, and this is something that I can talk about more at the end when I'm gathering my thoughts about the whole, you know, in a closing statement about watching this whole thing, like that girl was just like, yep, yeah, wherever you want me. Sure. And great, and I'll observe. And it's important to be present and just bright eyed and bushy tailed and wanting to plead instead of what had to happen. You know, by season two, when I'd had a child and I was breastfeeding and it had to be like, guys, we really need to pick and choose when I need to. Because that kind of scene that you had would have been three or four hours to shoot.

[Patrick J. Adams]

Oh, yeah, that's right.

[Sara Rafferty]

That I would have been waiting there. And I think, you know, at that time I was just eager and happy and grateful.

[Patrick J. Adams]

Sure.

[Sara Rafferty]

And then later I grew into somebody else who became more aware of how this thing works. Yeah.

[Patrick J. Adams]

Like, I don't need to. If you need me to. Again, some scenes, you need to be there. It's a story thing. It's annoying, but I've read the script, and I'm gonna have to. This is gonna have to be the way that it is. And then other times, it feels. Can sometimes be egregious. And it's like, well, I don't think I actually need to be here for this.

[Sara Rafferty]

It's like nudity.

[Patrick J. Adams]

And you don't. You're afraid. You're afraid to stand up for it when you're first on a show.

[Sara Rafferty]

And I did not feel like I was in a position to stand up for it in any way, shape, or form.

[Patrick J. Adams]

What was particularly egregious, though? Cause you just said a thing. Well, sometimes the camera angle, and she's there, but in this way, you're standing, so it's not even so like they placed me in. If you were at your desk, you actually wouldn't have been in the shot. Like, if you were sitting at your desk, you were standing there. So it just led me to think, was there a moment when it was gonna be important that you saw something in this scene? But anyway, we don't need to dwell too much on that.

[Sara Rafferty]

It seemed a little egregious. Well, I have. I mean, the hardest part for me about that whole thing was when I look back at it and I rewind that moment was that I was wearing black pantyhose.

[Patrick J. Adams]

Of course, this is what you remember because.

[Sara Rafferty]

Because, I mean, that's the real crime nowadays. We can wear tights. Cause it's cold. We're gonna wear some black tights. We're gonna make it.

[Patrick J. Adams]

But these days, pantyhose is, like, not a thing.

[Sara Rafferty]

And, you know, I thought, like, after the 90s, after I did the Maxipad with Wings commercial, that I was not gonna say panty publicly ever again. Like, you did a maxipad commercial? Oh, yes.

[Patrick J. Adams]

Pull it up.

[Sara Rafferty]

Always with wings.

[Patrick J. Adams]

Let's go.

[Sara Rafferty]

I'm just gonna try to work panty in as many times because this is my last day of seeing panty.

[Patrick J. Adams]

This is it. This is the final moment.

[Sara Rafferty]

This is the end of it. But I just know those pantyhose, they were not the right kind of sheerness. You either got to go opaque or sheer. You got to get a pat. It just was wrong. I'm not okay with it. So that was the particular prime was great for.

[Patrick J. Adams]

That was you were in the wrong clothes. Appreciate you talking us through that. Mike returns to his desk to find Devin, played by Julian Dizzotti, who I think we had for a little bit on the show. I'm excited to see if he keeps coming back, checking his progress on choosing a restaurant for the rookie dinner. Mike threatens Devin with violence, which was a bit of a standout for me. Is Mike an imposing figure? Are we thinking Mike's gonna throw punches? Cause he gets slapped by Jenny in this episode, and then a little later, he just gets quickly tossed around by Trevor. So I'm not getting the impression that Mike is a particularly adept fighter.

[Sara Rafferty]

Is Mike athletic?

[Patrick J. Adams]

He rides bikes for necessity. It doesn't seem like, I guess I pointed out as I'm like, I think it's the first time I've seen Mike threaten someone with violence. And I was a little. And I played him, and I'm a little unsure that he's going to be able to deliver on that promise.

[Sara Rafferty]

But I feel like in this particular moment, it seems like Mike has learned a little something about intimidation from Lewis and Harvey, maybe.

[Patrick J. Adams]

Good call. Very good call.

[Sara Rafferty]

So Harvey tells Dominic that he needs to step up as CEO to save the company. And then Rachel and Mike have a flirty moment because they're going to go to dinner.

[Patrick J. Adams]

Go, Mike. I'm excited for these two. In the conference room, Harvey and Mike help Dominic with the speech that Mike drafted. Harvey storms out and tasks Mike with making sure that Dominic. I think I might have mentioned this before, but I'm noticing with every episode, there's a scene at least one or two, where I'm like, oh, I can put myself back in this room. I am sitting there. I can remember what it felt to shoot this scene. The last episode was Harvey and I in the office at the end going, tete a tete. And in this, it's this scene, and I don't remember why. I think it has something to do with Mike getting to be the closer for once, you know, and me noticing it, like, story wise, like, oh, like, Harvey cannot do this without Mike. And maybe it was the first. Mike has been helpful. He's been doing all sorts of great things. He's been proving himself. This is maybe the first moment where Harvey is like, they're playing good cop, bad cop, or good lawyer, bad lawyer. Like they say in the next scene. Like, it's really Mike's job to make this happen. And I think I knew that in the moment. And I was. I felt the way that Mike might feel as the actor. I was like, oh, okay, I get to do this now. I get to make Titus Welliver do something that he maybe initially doesn't want to do. And also, just getting a solo scene with Titus was, as an actor, probably. I know. A very memorable moment. Then Mike approaches Rachel in a restaurant, and she's helping him plan his rookie dinner. They discuss food, and we learn more about where they both came from. Jenny calls, but he ignores it.

[Sara Rafferty]

Whoa.

[Patrick J. Adams]

Yeah, it's heavy.

[Sara Rafferty]

Wow.

[Patrick J. Adams]

I know you don't want to take sides, but this is. It's a moment. Mike walks Rachel to a taxi where they sort of have their first real little flirts session. They're standing very close to each other.

[Sara Rafferty]

It is very close.

[Patrick J. Adams]

I've noticed this as an actor, and it was something that came up a lot with Gabriel. I remember is I do a thing as an actor where I really stand close to people. Like, if I decide that it's like, either a scene where there's, like, I'm really standing up to someone, or there's, like, supposed to be this intimacy, I think I stand about 3 inches too close. Gabriel.

[Sara Rafferty]

So can we call you a close talker?

[Patrick J. Adams]

I think I fist. Gabriel would always. We'd be doing the scene, and as it got more intense, I kind of get closer and closer. And Gabriel would have this thing he'd do where he'd always just put his hand on my chest and a light pushing. Pushing me away from him very fairly. I think he was just like, humans don't stand this close. This is just a little too. Unless they're, like, about to kiss, they don't do this.

[Sara Rafferty]

And even in this, you built in the marvy. That's good.

[Patrick J. Adams]

Yeah. I get. I don't know. You know, we're pushing up against each other. But in this scene, I even felt like, you know, there's supposed to be this intimacy, but Mike is. It was weird that they didn't kiss, you know, which wouldn't have made any sense in the story. But the way that they were standing together, Mike and Rachel in this was a little close for comfort. But I. You know, I thought this was cute, them being together, us doing the thing and.

[Sara Rafferty]

Are you a foodie?

[Patrick J. Adams]

Oh, God, no. Not at all. Did they that Megan was a bit of a foodie? Yeah, I think so.

[Sara Rafferty]

And they wrote it in on the second episode.

[Patrick J. Adams]

I don't know. Yeah, I guess. Cause Aaron wrote this episode, so I don't think it would have been new information that Megan's a bit of a foodie.

[Sara Rafferty]

Okay.

[Patrick J. Adams]

Yeah. So I don't know. It's a good question for Aaron. But the dinner that we had was much like any dinner that Megan and I might have where she is very aware of the good food and what to order. And I'm scanning for the tiny burger. I think I've gotten a bit better in my old age, but not much.

[Sara Rafferty]

You just had haggis.

[Patrick J. Adams]

I did. So after having a stomach pain that I can't. Yeah.

[Sara Rafferty]

Moving on.

[Patrick J. Adams]

After listening to the voicemail from Jenny, Mike shows up at Trevor's apartment to confront him. Trevor still refuses to tell the truth or accept help from Mike. Trevor then brings up Jenny and then punches her throne and Mike storms out. We're done. I just have to say one of my favorite. I don't know who needs this to happen, but if you notice the scene, remember in the pilot we're in that big loft. Do you remember with Trevor, and you remember what's in that loft? What's in the loft?

[Sara Rafferty]

The motorcycle.

[Patrick J. Adams]

He's got a motorcycle in his loft. Which I had questions in the first thing.

[Sara Rafferty]

I don't approve of motorcycles.

[Patrick J. Adams]

What?

[Sara Rafferty]

I don't approve of motorcycles.

[Patrick J. Adams]

You don't like motorcycles. But you know, I understand Trevor maybe being into motorcycles, having it in your loft. Maybe that's a New York thing to do.

[Sara Rafferty]

You into motorcycles?

[Patrick J. Adams]

I love motorcycles.

[Sara Rafferty]

I don't approve.

[Patrick J. Adams]

I love motorcycles.

[Sara Rafferty]

By the end of this podcast, people, I'm going to get Patrick to sell his bike.

[Patrick J. Adams]

No way. 2. I have two bikes and I'm not getting rid of either of them. But the point being is that this set, you can tell, is the smallest apartment. You know, this happens when you change locations. You know, they decide for one scene we're not going to go rent some other giant loft in Toronto. So they kind of made this smaller space work as if it was like the lobby of Trevor's giant New York condo. But they decided that the motorcycle needed to be there to. To like sell it. To sell it. But it looks like it's in the hallway to the bathroom or something. Yeah, like, it looks like, it looks like someone who's put a motorcycle in their, like, little one bedroom New York apartment when you're in this room. I love that. So we, I want to have, when we do get Kevin Bray on the show, I want to have a motorcycle conversation.

[Sara Rafferty]

And then you guys get in a.

[Patrick J. Adams]

Big fight and Mike gets it handed to him. Like I said, not a fighter. A lover, not a fighter.

[Sara Rafferty]

And then you leave the apartment.

[Patrick J. Adams]

Yeah.

[Sara Rafferty]

And guess what? You forgot your bag.

[Patrick J. Adams]

Did I have my bag going into the scene?

[Sara Rafferty]

Yeah.

[Patrick J. Adams]

Really?

[Sara Rafferty]

It goes on the floor. Like, all bets are off. The bag gets taken off.

[Patrick J. Adams]

We're done. Oh, it's hard. Did I not grab it? I might not have grabbed it. We'll have to go back and reshoot. Then we have some of our fancy New York transition, and then we're in the Fairmont Royal York.

[Sara Rafferty]

Oh, can I talk about this?

[Patrick J. Adams]

Yeah.

[Sara Rafferty]

I'm so excited about that. First of all, there's snappy transition music to get out of that. Like.

[Patrick J. Adams]

Call Dominic. He's waiting for us outside. So we're outside. We're going to meet Dominic to go into the meeting. And I remember shooting this. This is one of our first, like, outdoor Toronto scenes. And it's freezing. You can see how cold we are. We are cold. And trying to pretend like we are not cold.

[Sara Rafferty]

And you walk by a Tim Hortons, which immediately. Look, all these little tiny things bring back so many feelings for me. These little deep.

[Patrick J. Adams]

What's going on with my hair in this episode? Can we have a sidebar about that? My hair goes from. I think I have six different lengths of hair over the course of this episode.

[Sara Rafferty]

But can I say something that I'm excited to share?

[Patrick J. Adams]

I would love to hear what you're.

[Sara Rafferty]

Excited about, which is I'm excited to talk about this location. So when you're going into this scene, you are indeed in Toronto, because we see the Tim Hortons. When you exit this scene, you are gonna cross over Park Avenue in New York City, and it's gonna be different weather.

[Patrick J. Adams]

But where are we when we're in the scene?

[Sara Rafferty]

You are about to walk into the Fairmont Royal York, which is just so iconic. And I was there last September doing an event, a fashion event, and I gave, like, a little speecheroo and spoke around. I hate that I said speech.

[Patrick J. Adams]

We're keeping that. Wait. Just a quick. Could you walk us through what the difference is? No, no, no. Wait. What's the difference between a speech and a speecheroo?

[Sara Rafferty]

I was honored to be hosting an event back in Toronto, a fashion event that took place in the Fairmont Royal Arc. And I spoke in my speech about so many things, about how much I loved living in Toronto, which we will go through in the future. But I talked about how the last time I had been there was when you were directing an episode.

[Patrick J. Adams]

That's right.

[Sara Rafferty]

And how good it felt to be standing there. And I also want to say I love this hotel. It's haunted. They have amazing soaps. The Le Labo rose soaps.

[Patrick J. Adams]

Always got to steal those when you see them in a hotel.

[Sara Rafferty]

Absolutely. And I have to say the locations, like, all over Canada of these hotels are so amazing.

[Patrick J. Adams]

What do we have in this episode? We have the Royce Thompson hall, and we have Royal York. The Royal York Hotel. I think before it was even a Fairmont, like, I grew up in Toronto. That building is like an iconic part of the skyline. It's got this beautiful gold roof, like.

[Sara Rafferty]

Queen Elizabeth before she was queen. I think she was a princess. She threw an influencer event there.

[Patrick J. Adams]

This is good. That's a headline. Here we go. Sorry.

[Sara Rafferty]

Anyway, but it's haunted. The stories are real. If you ask the staff, which I did the night that you were directing us, they all confirm that it's haunted. And the whole hotel chain doesn't try to say that that's not true.

[Patrick J. Adams]

When you were there, did anyone else give any speecheroos or was that just. Was that just you?

[Sara Rafferty]

I was hosting an event and I was thrilled to be back. And you were. And I spoke about you in my directing.

[Patrick J. Adams]

Yes, I actually. It was a bit. We'll get to that episode a million episodes from now. But, yeah, seeing that lobby was a very full circle moment for me as somebody who grew up in Toronto. Anyway, things are not going well for our guys here. We are now back in New York City. Mike has apparently had time to go get a haircut, and they're trying to figure out what they do next. In Jessica's office, we discover Jessica hedged her bets by sending Lewis in to undermine Harvey, which is, again, brilliant. I love this. I just love the chess playing of it all. Now, no matter which of them loses, the firm wins. She reminds Harvey that he bought in. He is the firm. And then Harvey has.

[Sara Rafferty]

Aha.

[Patrick J. Adams]

You just said it. I know. Now I figured it out.

[Sara Rafferty]

But you noticed something really cool about this scene that I'm excited to hear more about from you.

[Patrick J. Adams]

Oh, right, yes. The scene was shot hand, handheld.

[Sara Rafferty]

Yeah.

[Patrick J. Adams]

I don't know if you noticed. It's pretty subtle. I don't know why I kind of picked up on it. Our show was very much not handheld from this point on, and that this is one of those things I'm talking about where I can see us trying to find the visual language of the show. And it's a long time ago, but I think I have some memories of Kevin really wanting to explore. Because for those of you that don't know how a show shoots, when you set up a camera on a tripod or on a dolly or whatever, it takes time. It's a whole team of people that roll the thing and get the thing on and get it set up. And, you know, then your camera is stable, but it involves a lot of time. And I think we were at a stage where we were trying to find out how to make the most of our time. And so there was this idea that maybe we could shoot scenes handheld, which really just means a camera goes up on someone's shoulder and they're shooting the scene and it kind of moves around, sort of a Friday Night Lights vibe. But, like, a show like that is shot entirely handheld.

[Sara Rafferty]

It's very intimate for the camera person and an actor.

[Patrick J. Adams]

I think it also makes the go faster because someone's holding a camera and that just didn't. Everybody feels it. Everybody feels the camera's in someone's shoulder. It's heavy. Like, there's no time to be wasted. Let's, like, move. As soon as cameras go on a dolly, there's just a slight. You can kind of slow down and know you're taking your time and nobody's inconvenienced by holding a camera. And it really is a different style of shooting in that you can move quickly. Like, I'm shooting a scene with you, we're shooting, like we talked about your side of things and getting your dialogue. And then the camera can run over to the other side of the room. And now we're getting you. Like, it feels sort of. A lot of actors really love to shoot it because it feels very electric and in the moment and you don't even really know where the camera is at any moment. You get to focus on the performance. It's fun. And I think there was this attempt on our show to see if we could pull that off. But for the most part, I think the idea that we would ever do this in the office ended up not being a thing. So it was interesting to see a. Where it was happening. I gotta be honest, I liked it. I thought it felt.

[Sara Rafferty]

I did too.

[Patrick J. Adams]

It did something for the tension of the scene. Great line alert. I think we both agree you're a member. Get it? Do you get it? Moving on, Harvey finds Mike and sends him to see Dominic. Harvey has a new plan. The next day, Dominic Harvey and Mike interrupt the McKernan sale approval vote to inform the board that they've secured a new and lucrative offer. And it's over for Sten's. Harvey and Mike are crossing the same street as yesterday, but with a completely different attitude. Mike gets it.

[Sara Rafferty]

Was it tricky filming in New York? Like, walking back and forth and resetting across Park Avenue like that? I mean, they were beautiful shots. And it really was, you Know, proved to us, hey, we're in New York. But is it hard to do with the real traffic and all that? From a safety perspective?

[Patrick J. Adams]

I think just the vibe of being in New York with the energy and the cars and the people, like, it feels good to have that. So, yeah, it was probably hard. It's awkward, like, reset and wait for the light and all that stuff. But it's so outweighed by how great it is just to be in that city. It's like, no, you know, there's no other city in the world like New York. So anytime we shot down there, I was. We were kind of in hog heaven.

[Sara Rafferty]

I'm in hog heaven right now.

[Patrick J. Adams]

I love hogs. So weird. Can we speech, Arun, just for a quick second? Hey, can I talk to you for a second? I got a quick speech. True. And then our episode ends with Mike waiting for Jenny outside her apartment. He tells her that she was right and makes amends by confessing that Trevor is still dealing the push and pull. Before they know it, they're kissing. Mike pulls away. He just fought with Trevor, and this is very complicated. As he walks away, Rachel calls his cell and it says here in this that he ignores her, but he doesn't. Can we replay it? I don't think he ignores it.

[Sara Rafferty]

He picks up the phone.

[Patrick J. Adams]

No, he doesn't do either. He ignores it and that. He doesn't pick it up, but he doesn't. You know, we saw her ignore.

[Sara Rafferty]

You're miming. Turning it on. You're miming.

[Patrick J. Adams]

Sorry. We saw him actively ignore Jenny earlier. See, phone's ringing. Picks it up. It's Rachel on a BlackBerry. Did I hit the button? Sorry, I didn't.

[Sara Rafferty]

It sounded like there was a click.

[Patrick J. Adams]

Oh. Cause you know what I mean. They showed it in a closeup before when I ignored Jenny. You saw like.

[Sara Rafferty]

Can I say something about kissing?

[Patrick J. Adams]

I wish you would. Let's have a thing where we raise our kisses. On this show.

[Sara Rafferty]

It's never. No, it has nothing to do with the acting.

[Patrick J. Adams]

It's like it never feels normal to kiss someone on camera.

[Sara Rafferty]

No, no, no, I'm not saying that. I'm just saying Sarah watching her suits brothers have kissing scenes, whether it's you or gay Gabriel or Rick, makes me want to giggle.

[Patrick J. Adams]

Makes you giggle.

[Sara Rafferty]

I'm just like, mom, don't make me look at this.

[Patrick J. Adams]

It's really funny.

[Sara Rafferty]

I had to watch it three times and see if I could just like, try to watch it as, like, a normal viewer. And then I was like, nope. I just think I Feel like it's just weird watching my brother Rick.

[Patrick J. Adams]

You know, it's always weird being an actor and having to watch yourself do things. Cause in life we don't really watch ourselves do most things. But it's particularly weird to. To watch you kiss someone. Cause that's something you really don't ever see. You said ever have to see. And it's a real.

[Sara Rafferty]

I can think of a couple more things.

[Patrick J. Adams]

You're like, oh, that's what it looks like. Okay, so that's the end of our episode. Yeah, look at us. We got through it. I know you don't like a triangle, but we're left with it. Whether you like it or not. We are in the zone.

[Sara Rafferty]

Was there a whole team thing back in the day? Like team Rachel, team Jenny?

[Patrick J. Adams]

Oh, for sure. I mean, people love to play that stuff up, you know, for me, I think we all wanted to avoid it as much as possible. We just wanted to play the reality of the situation, which, you know, is that these are two very different characters. You know, one is in the high powered world and sort of represents what Mike is reaching for. Like, he just wants to be part of this world and these kinds of people and this new life. And one is a really safe, wonderful version of his old life. And that was fun to play and figure out together. And I was so lucky to do it with two incredible actors. So it goes a little bit back to what you were saying about wanting to play against maybe the easiest version of scenes, you know, And I think you're right. Like, I think we actively wanted to not just be Betty and Veronica or something, you know, but be a little bit more elevated than that. But do we have some closing? Closing stage? How do we feel? Where are we at?

[Sara Rafferty]

Yeah, I'm surprised at how much I felt a couple days after watching this. Like, honestly, watching this episode brought up more for me in terms of memory than the others, I think, because I was like, oh, this was the first one. Right. Like we said. And with this viewing, I'm really recognizing how much growth I've had in the last decade. Plus, it's been about 12 years. And I can almost look at the girl in those scenes, and she feels as distant yet familiar as looking at photos of my childhood. And I don't have a lot definitively to say about that yet. It's still forming. Except that this viewing put me on watch in a way, of the stuff that's gonna bubble up. I also found, like, that in this episode in particular, that I can't just put on my suits fangirl hat and just get lost in it. Because I am watching the people who were so formative in my life. And it's like, for me, it's like getting consumed in a home movie. You know, for a moment, I think I.

[Patrick J. Adams]

This is what I'm getting from what you're saying. And I really relate to it, which is that we got into this process to watch this show. We've always talked about how we wanted this conversation to be more than just, oh, how much we love the show and all the details and telling funny stories about it, but really realizing that this was like an insane time of our lives and that we changed dramatically throughout the process. And there were great days and there were hard days and there were challenges. And you and I have talked a lot about in the prep of this thing, like, we want to figure out where we can also have those conversations. And I feel it as well, watching it, that I'm having a ball. I'm enjoying it. I'm falling in love with this thing. That's sort of been a thing I've been scared to look at for so many years. But I'm also, you know, there is an emotional reaction to it. There is a, like, all right, like, we're going on the journey.

[Sara Rafferty]

And I also want to say that, like, just like watching this and referencing the. That has happened between then and now, which, you know, look, all growth isn't always, like, comfy brings up, like a really simple and complex thing for me that every single human being wrestles with in their own ways, but it's just the passage of time. And so, yes, this is fun and fuzzy to watch and talk about. And I'm so happy to be here with you and our guests and our viewers and listeners. But it's also not totally devoid of some, like, achy lumps in the throat. So I just want to say thanks for being my partner in this.

[Patrick J. Adams]

My pleasure. Thank you. I love you. You're the best. I don't know how to pivot from that beautiful thing to. Can we get a goddamn count?

[Sara Rafferty]

Yeah, let's get the goddamn count. This was a low goddamn count, I think.

[Patrick J. Adams]

Well, let's guess what. Do you have a number two? I'm going to go six. Six, five. There were five. I didn't count, but I felt more than the last time I felt. I felt them happening. So what is that a grand total of?

[Sara Rafferty]

13.

[Patrick J. Adams]

13, 13. God damned. God damn it. We should say. I mean, we've never saw. We're counting the goddamn. So it was a big deal. People were angry. Was a thing that they loved to remember. All the comments we'd get, which was like, we love this show so much, but what is with the God damn?

[Sara Rafferty]

And we weren't allowed to not say them sometimes when we particularly didn't want to. There were moments when we didn't want them.

[Patrick J. Adams]

There was a stretch of time where people started going, I just can't do this anymore. Not for moral. I don't even think it was for like a morality. It was also just like we're saying it a lot and yeah, well, we'll get to it. But it certainly is a fabric of the show. That's why we're counting it. So that's a wrap on Inside Track. Thank you all so much for coming back. Please, please join us next week for episode four where we're going to chat about dirty little secrets. Ooh, what are these dirty little secrets? I gotta say, I'm excited to watch. I'm gonna watch it on the plane in four hours.

[Sara Rafferty]

Yeah. Sidebar is produced by Sara Rafferty, Patrick J. Adams and SiriusXM Media. Our senior producer is Kimmy Gregory, our producer and researcher is Christian Schrader, our sound engineer is Alex Gonzalez and our audio mix is by Eduardo Perez. Our music is by Brendan Burns and our executive producers are Cody Fisher and Colin Anderson.

[Narrator]

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[Patrick J. Adams]

I really love my life.