Exploring the art of storytelling.
In this week’s “How to Get Away with Murder” lecture, we learned about the use of “brainwashing” as a defense in the courtroom. Even though we didn’t get too much information about it regarding real life cases, it was interesting to take a peek at how it is used in court. I found it both fascinating and controversial.
I’m glad we got to see more of Asher in this episode. Since he’s not in the present time murder scenes, we don’t get as much from him as with the other characters. However, I think Asher is very funny. He’s over the top and obnoxious, but he’s entertaining. I hope to see more of him in upcoming episodes not only to learn more about him, but to figure out why he’s the only student not present at Sam’s murder.
Since the pilot episode, there have been three separate storylines we have been following in “How to Get Away with Murder:” 1) the students taking Professor Keating’s criminal law class, 2) the murder of Sam, and 3) the disappearance of Lila Stangard. This episode, the stories all tied together. Keating is now representing Rebecca who is connected to both murders. I’m glad that these stories are all related, further confirming that the writers know exactly what they’re doing, and I’m interested to see where the stories lead.
I have one critique for this episode: Alfred Enoch’s acting skills in the scene when Professor Keating confronts Wes (played by Enoch) about impersonating a lawyer to speak with Rebecca. In the scene, Wes fessed up to Keating, revealing that he wants to be a lawyer to fight for those less fortunate, such as Rebecca. During this scene, Wes comes close to tears. While it is supposed to be emotional because Wes feels conflicted, I found Enoch’s acting to be a bit poor. His emotions appeared too forced, and I could tell the tears were fake. Because of his performance, I was taken out of the story and reminded that Enoch was just an actor. Rather than seeing Wes struggle with his emotions, I saw Enoch acting as Wes. Because of this, I found the scene to be uncomfortable, not powerful like it should have been.