The search for truth is, you know, fairly insidious, however noble. However, it is undeniable that a series like How to Get Away with Murder has from the start placed the truth in second place to get away, a concept exemplified by the original title of the ABC series. In engaging, sated and final batch of the season, consisting of two episodes 'He Made a Terrible Mistake' and 'Wes', the leitmotiv of searing truth even before lighting is a constant background, a continuous bass that is felt in every scene, more or so less blatant.
The concept of sincerity, promptly betrayed by Annalise Keating as much as by her troubled students, seems to be the basis of a paradox that undermines relationships between the characters in an ever more profound manner that which, at first glance, has the appearance of a family unit, with the need for mutual protection.
Although based on selfish protection of individual interests, it has become, in the course of the third season and in particular, following the death of Wes, the perfect result of a journey filled of lies and subterfuge. Who lied once, can still lie and will lie again.
It pays the expenses, to the fullest extent, just the most idealistic, relatively speaking, among students protected by Annalize, the Laurel that continues for weeks, to point the finger at anyone looking for a culprit to hate for the disappearance of Wes.
Perhaps because of a sentimental clumsy and superficial construction, this love lost drama is perhaps the least exciting among those brought to the scene from the series created by Peter Nowalk, according not only to the simple but pregnant story between Connor and Oliver, but even the limping relationship between Michaela and Asher , who has, in the last minute of the season, an unexpected and unexplainable moment of glory.
Although not always exciting, mourning Laurel drives her to rash actions, such ugly accusations against people closest to her, and Wes search killer seems to have assumed the characteristics of a crusade that beautiful student will pursue, assisted by colleagues or solo. The irony of fate is revealed in the final episode's final scene, when you finally discover the identity of the instigator of the murder of Wes. The revelation of the involvement of Laurel's father arrives unexpectedly, but, for once, is a stroke of well-contextualized scene and potentially a harbinger of turns of a certain size.
There comes also to strengthen a sector of villain who, this season, has hit bottom in terms of credibility and pathos entourage district attorney to Mahoney, none of the enemies of Annalize and company really made us tremble. With this change of cards on the table, a whole array of new dynamic opens before the public, and the hunt for the culprit of vedova Laurel takes on even more paradoxically tragic tones.
Apart from the real interweaving, however, it is the psychological portrait that How to Get Away with Murder has always been a plus with no exception in this diptych of episodes in which, despite some melodramatic excess not always well placed in the context, the entire cast of characters excels in the depiction of a now entered crisis in vivo, a turning point which requires Annalize and her pupils to falsely incriminate the very one who still mourn with sincere despair.
And if Wes had stopped for some time to set up a valid element of interest within the series, the reciprocating assembly between the prosecution pronounced by Annalize in front of the attorney and the execution of Wes by the sicario Dominic cloaked the young figure of a drama almost disappeared martyrological.
Loading the corpse of Wes, the sins of all will perhaps save the characters from ending up in the cell, but it will certainly help them regain that normality now long gone behind them: a normality that still, mind you, chasing desperately in everybody's life day, through declarations of love and marriage proposals in stark contrast to the castles of lies and direction changes accumulated during three seasons. Can you tie forever to someone who has built its identity on a lie?
The eternal dilemma exists and carries high the banner of the Annalise Keating Viola Davis, once again, it offers audiences an emotional palette able to make up for any shortcomings of the script. The Queen succeeds in its intent, but his is a bitter victory, and the closing of the season is entrusted to her tears that without music, accompanying the leave by another chapter where the road to salvation passes for abyss of pain.