Hey everyone! I’m trying to find a song from S01E10 that starts playing around minute 41. It** starts playing >!right at the end of Connor's interrogation, then cuts to Annalise sitting in bed and her phone starts ringing!<.** Tried searching, shazaming, and found nothing. If anyone knows, please share it <3
i don’t know whether this is spoken about much but why is it completely ignored that laurel literally raped frank? idc that they’d had a sexual relationship in the past it doesn’t change the fact that she sat on top of him covered his mouth when he was saying no and told him “shut up and take it”, If this was the other way around i feel like it would’ve been perceived way more seriously if frank had done this to laurel.
maybe there was consent that happened off camera but from what we saw it was 100% non consensual no matter how it’s spun. Also, Frank not doing or reporting anything after doesn’t mean that it wasn’t rape there are lots of victims that don’t even realise they are one and also so many that don’t want to report.
Happy Birthday 🎂🎉Viola Davis
August 11, 1965 (age 61)♌
(Annalise Keating - HTGAWM)
Analysis of the Series and Characters
Why How to Get Away with Murder is an Underrated Masterpiece (Detailed Analysis & Character Breakdown)
How to Get Away with Murder is frequently dismissed by mainstream TV critics as a high-octane "guilty pleasure" or a fast-paced network soap opera. Because of its dizzying pacing, shocking cliffhangers, and procedural embellishments, most viewers fail to scratch beneath the surface.
Underneath its flashy exterior lies one of the most profound, dark, and surgical character studies of generational trauma, abuse, guilt, and moral erosion in modern television history.
The Core Tragedy: Annalise Keating and the Hypocrisy of the Keating 5
Before the events of the series, Annalise Keating had a complicated life—a failing marriage, trauma, and a struggle with alcoholism—but it was a normal human life. She was a top-tier attorney with power, prestige, and control.
The moment Wes, Connor, Michaela, and Laurel brought Sam’s body into her home in Season 1, Annalise’s life ceased to be her own. She entered pure survival mode.
Annalise’s fatal flaw wasn’t malice; it was an irrational, fierce maternal instinct. Having lost her own child years prior and carrying immense guilt over the death of Wes’s mother (Rose), Annalise saw the students—and Wes in particular—as surrogate children. Instead of doing what any rational lawyer would do (calling the police and letting the students face the consequences), she destroyed her own mental health, and career to shield them.
The ultimate tragedy of the series unfolds in Season 6:
* The Irony of the Keating 5: The students are the true source of Annalise’s downfall. She took every bullet for them for years.
* The Ultimate Betrayal: In the final season, those same students—in order to save their own skins—sign immunity deals with the FBI and testify against her, framing her as the "mastermind" of everything. It is the pinnacle of hypocrisy, revealing how fear and self-preservation deform young people over time.
Detailed Character Breakdown
Oliver is the only character who entered this toxic orbit completely innocent. His only "crime" was loving Connor unconditionally. Out of devotion, Oliver lie, and get his hands dirty, but his core morality remained intact. He represents the tragedy of an innocent bystander corrupted by love, yet he remains the truest, best person in the entire series.
Annalise is a hurricane—unstable, alcoholic, and fiercely terrifying—yet capable of sacrifices no ordinary person would make.
* The Maternal Drive: Her irrational choices stem directly from her deepest trauma: losing her baby boy in a car crash.
* Bond with Bonnie: Her relationship with Bonnie is one of the most complex, co-dependent bonds on television. Both are survivors of horrific childhood sexual violence. Annalise sees her broken past self in Bonnie, oscillating between fierce protection and toxic control.
Unlike Michaela, who is a cold opportunist, Connor is consumed and destroyed by guilt from day one. His character arc is deeply tragic. When he eventually testifies against Annalise in Season 6, it isn't out of cold ambition, but because he is a completely broken man crushed by the FBI and his own conscience. His willingness to accept prison time at the end is his only way to achieve moral redemption.
Michaela’s willingness to "step over bodies" isn't pure evil—it’s trauma-driven panic. Raised in a toxic foster home in a trailer park, her entire identity is built on a desperate terror of falling back into poverty. Her obsession with becoming "Michelle Obama" means that for her, success equals survival. When pushed to the brink, she chooses herself every single time.
Many fans find Laurel insufferable in later seasons, but that is actually brilliant, intentional writing. As the daughter of Jorge Castillo—a ruthless crime boss—Laurel desperately tries to act as the moral compass of the group, yet instinctively uses the same manipulative, cold tactics as her father. Her toxicity is the direct, logical result of her upbringing.
The Main Flaw of the Show: The "Frank Delfino Anomaly"
If there is one major writing compromise in HTGAWM, it is the character of Frank Delfino.
From a psychological standpoint, Frank is a contradiction that wouldn't exist in reality:
* Psychopathic Coldness: He kills without a shred of remorse or empathy (e.g., Lila Stangard).
* Fanatical Devotion: Simultaneously, he displays selfless, desperate love for Annalise and Bonnie, willing to die for them. True hitmen/psychopaths do not possess this capacity for selfless devotion.
Furthermore, Frank took money from Wallace Mahoney, directly causing the car crash that killed Annalise’s baby. In a pure psychological drama, Annalise could never forgive the man responsible for her child's death.
The writers kept Frank and orchestrated their reconciliation for Hollywood production reasons: Charlie Weber was a fan favorite, and the plot required a "fixer" to clean up crime scenes. While this compromises the psychological realism of Annalise's character, it remains a minor flaw when weighed against the grand narrative structure of the show.
Final Verdict: Masterpiece or Soap Opera?
How to Get Away with Murder is deeply underrated. Because it was packaged as a fast-paced network TV drama with theatrical courtroom speeches and shocking twists, mainstream critics failed to recognize it as prestige television.
If this exact storyline had been produced by HBO with a slower, darker pace, Annalise Keating would be cited alongside Tony Soprano and Walter White as one of the greatest antiheroes in TV history.
Despite minor soap-opera writing short-cuts, its masterclass in character development, generational trauma, and moral decay earns it a solid 9,5/10.