Sunday, October 30, 2016

'How to Get Away With Murder' Losing Its Thunder?

Can #HTGAWM bounce back?
How to Get Away With Murder, last part of Shondaland's Thursday lineup, is a killer mysteries and mayhem stunner. With a magnificent, inclusive cast led by Emmy winning Viola Davis, episodes frequently end on juicy, jaw-dropping cliffhangers. Yet since the clumsy finale to season two's big Hapstall case, something seemed amiss about the guilty pleasure drama. Unveiling Caleb as both snitch/murderer and Michaela's nonsensical drunken hookup with prep boy Asher while she was still technically Caleb's girlfriend were limply put together-- sadly unappetizing for a show relying heavily on shock value twists.  

The writers expect us to buy that oddly paired Asher (Matt McGorry) and Michaela (Aja Naomi King) have a romance. Nothing more than tawdry sex mentioned or shown every episode. Are we expected to believe that smart, intelligent, self-sufficient, strong Mrs. Pratt would go for a sleazy, douche-y character who back ends people with their cars? Asher, intolerable, bad-dancing, run on pun, is easily the lamest pick of the Keating 5. Michaela could do so much better.
A bland opened and closed case that left little excitement.
Season three opened with an anonymous person posting Annalise murder posters all around Middleton University's Philadelphia campus. Promos teased for an exciting revelation. The answer to this tawdry riddle, however, was nothing more than a fizzled, predictable outcome. Whereas the other mystery this season is "Who's Under the Sheet." For the first time, the series is showcasing events to the murdered victim as opposed to the events leading to why the person was murdered. So far, it holds steady interest, each episode closing with an alive person. At this point, Oliver, Bonnie, Michaela, and Asher are still breathing with under hospitalized supervision pregnant Laurel (a "Who's the Daddy" came up, but again another easy answer with red flag Meggy being the one who provided the information that Laurel had a bun in the oven).

Wes (Alfred Enoch) and Meggy (Corbin Reid) served nothing more than filler-- at least in Wes's eyes.
The introduction of good girl hospital intern Meggy as Wes's mysterious girlfriend seemed to provide the troubled man distraction away from horrendous events. He had witnessed a bullet strike his rapist father's head, learned his mother really did commit suicide, and gradually no luck came in the romance department. In finding himself a sweet, afro haired bike riding lady (a mirror to his own bike riding ways), he did refrain from being completely honest with her, using their relationship primarily as a scapegoat. Last week's breakup, which he provided all the ammunition to end things, he exhibited cold callous behavior to Meggy (despite her embarrassing "I love you" confession) and had the nerve to bed his friend Laurel seconds after.

Oliver (Conrad Ricamora) broke things off with Connor (Jack Falahee) in the first episode of season three.
Breaking up Connor and Oliver (beloved Coliver) remains to be a complete travesty.
Perhaps it's to ensure that these two characters grow on their own, separate from one another for the time being. Yet Connor has resorted back to his compulsive sex loving ways while Connor, who wanted to be alone, has started seeing someone. This is logical how?

In season three, episode 5's "It's About Frank," Bonnie (Liza Weil) and Frank (Charlie Weber) awkwardly got it on in Coalport, PA.
In the very next episode, "Is Someone Really Dead," Wes (Alfred Enoch) and Laurel (Karla Souza) take a turn between the sheets-- which just as foul as Bonnie/Frank. This results in Laurel's pregnancy. Disgustingly atrocious, but not at all surprising.
The real miss this season is that close platonic bonds have turned grossly sexual. For example, strangely incestuous quadrangle of Bonnie/Frank/Laurel/Wes is a sickening, utterly vapid story line that makes little sense. Chemistry is not something that should be forced down viewer's throats, but each passing episode promises flavorless chewing and vitriolic stomaching. The rotten icing on the cake is Officer Nate getting it on with Annalise's current nemesis, ADA Atwood. Talk about heinous.

A few people hope that Atwood (Miluana Jackson) meets an ala Emily Sinclair demise. That would look suspicious. Best keep her alive and with Annalise besting her in the courtroom time and time again. After all, there are worst things than murder, right?
Well, pushing uncomfortable revolving bed partners aside, two episodes remain before winter break. Prayers that the hugely promoted "Who's Under the Sheet" unravels to a delicious, worthwhile outcome. The other plots are messy and undesirable to watch, in fact cringeworthy is the genuine feeling here. In order to get back to the secret ice cream pint consuming binge joys of yesteryear, it's up to Pete Norwolk and his team of once gutsy writers to invent jolting catalysts that keep a viewer attentive and engaged. Let's wrap up catapulting viewers with unnecessary, baseless hookups and keep them entertained via dark mysteries and tantalizing whodunits. Please.

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