If the first three episodes of How To Get Away With Murder were beautiful and engaging, with this it is outdated, mainly thanks to the immense talent of Viola Davis; and if you think that we're not even halfway through the season, the expectations for the next few weeks are really high.
To Annalise Keating is a fictional character presented, from the first moment, How unsearchable: No one ever seems to know her really (as noted his client this week) and she does not lower the guard ever, don't trust anyone. This is one reason why the scene where it removes make-up in front of the mirror is even more significant and, in a way, painful; you are not simply removing jewelry and makeup, you are stripping in a moment of extreme vulnerability, as evidenced by the famous nine words that, immediately after, appeal to her husband: “Why is your penis on a dead girl's phone?”. In the simple act of passing a washcloth on your face makeup remover, with an emphasis, are all suffering, the anger and humiliation that Annalise proof at that time, After the tests the umpteenth betrayal by Sam. But, just as you'd expect from you, It is able to switch from the despair of that gesture to icy resentment against the husband: is a wounded woman, sì, but not a fairy-tale princess who can't take the situation in hand. This brief look at another side of Annalise, in any case, no effect at all on the general perception of you: unfathomable and inscrutable era remains, There are still many his behavior not immediately understandable (for example, Why approaches to Wes in that seductive way after learning of Lila's phone?), because, as I always say, the complexity is the hallmark of the best characters in Shondaland.
Other great Star of this episode is Connor, one of the students (Apart from Wes) that starts to show some’ by personality (to Michaela more than personality is hysterical): for now, the script is not particularly original (Guy libertine, semi-boyfriend from hurt feelings and so on), but the best parts are those in flashforward when, to put it in technical terms, gives out freaked out about what they're up to. His relationship with Oliver seems no doubt meant to further developments, which brings us to point out how, finally, even homosexual sex is described (both with words and with pictures) in the normal way and not merely mentioned or hinted, without even going to do remote morals to viewers or to treat the topic with kid gloves as if it were a sin: stuff just happens; as replied to criticism received Shonda Rhimes (!!): “There are no gay scenes. There are scenes with people in them”.
Still understand each other a little, instead, of murders: If every week, give us some clue in addition, It is also true that they don't give us anything concrete; You can easily argue that it is a little’ soon to demand answers, but this constant tease and prod the curiosity of the spectators can become exhausting in long run. The involvement of Sam becomes increasingly obvious and increasingly dangerous, paving the way to the explanation of his death, and with evidence of forced confession of Rebecca at least minimal revelation facing the horizon. Take shape other aspects mentioned so far, as Bonnie's role and that of detective Nate, and I personally can't wait to know how on Earth all this storyline to fit each other.
Even more than in the previous weeks, Murder leaves us with the feeling that he could not wait a single day too to find out what else happens; the pace is increasingly supported, There is time to process the information, the Viewer is continually transported from scene to scene, a mystery to the other, attracted like a magnet from the best new series of the year.