When I think of romantic dramas, Korean shows come to mind. But when it comes to gripping thrillers, American TV steals the show. It seems like Americans have mastered the art of dreaming up fresh crimes and pushing the limits of criminality. Shows like these feed my thrill-seeking addiction, drawing me into their tangled plots episode after episode. Yet, not all American thrillers revolve around bloodthirsty psychopaths or nail-biting murder investigations where the culprit is unmasked at the last second. "How to Get Away with Murder" sets itself apart - it's more than just a crime drama; it's a reflection of contemporary life and societal issues, all wrapped in a thrilling package.
The plot of "How to Get Away with Murder" is deceptively simple: A group of law students is trained by their brilliant professor to defend murder suspects. However, they soon find themselves caught in the web of a murder where they’re the ones covering their tracks. The central characters are the five law students and their tough-as-nails professor, Annalise Keating, who not only teaches them the tricks of the trade but is also deeply involved in the crime that drags her students into chaos.
Structurally, the show doesn’t break new ground. The main storyline, centered around the students' murder involvement, is bolstered by smaller episodic cases. Right from the beginning, the audience knows the students are tied to a murder and are trying to cover it up. Early episodes are a bit disorienting, with fast-paced flashbacks layered over the present-day narrative. But by episode 5, once the victim's identity is revealed, the plot kicks into high gear. Trust me - after episode 5, every single episode throws in a twist so juicy that you'll find yourself glued to the screen, no matter what time it is.
But let's not just talk about the clever plot or how this show adds a fresh spin to the murder-mystery genre. What truly sets "How to Get Away with Murder" apart is how it captures slices of modern American society. The characters aren’t just complex; they’re real, raw, and unapologetically flawed. You've got Wes, the naive, ordinary guy; Laurel, who’s smart but torn in her relationships; Connor, the suave and seductive gay man who everyone seems drawn to; Michaela, fiercely ambitious and determined to climb the social ladder with her wealthy fiancé; and Asher, the impulsive, privileged loudmouth. At the center of it all is Annalise Keating - emotionally intuitive, but brutally rational.
These characters make no apologies for who they are, and they’re not afraid to step over each other to get ahead. Right from the start, it’s clear that they’ll do anything to win, and there’s no room for sympathy. The Keating 5 (Annalise's students) dive headfirst into courtroom battles, not just to defend their clients but to outmaneuver each other. Don’t expect any heartwarming moments or group unity here. These characters are ruthless - helping each other only when it benefits them personally. There's no image of a noble lawyer fighting for justice. The show wipes out any clear lines between good and evil, leaving only what’s advantageous or harmful for each character - a line they’ve drawn themselves.
The genius of this series lies in how it reflects the fabric of American life. You won't find the stereotypical Hollywood leads here - no slim, impeccably dressed women or suited-up alpha males. Annalise Keating, the heart and soul of the show, is a strong, Black woman - tall, powerful, and commanding. Two years ago, a character like Annalise would’ve likely been portrayed by a glamorous white actress, but the show’s success hinges on Annalise being who she is.
As of 2010, over 13% of the U.S. population was African American. Yet, Black women are often left out of strong, intelligent leading roles in TV. Annalise isn’t just a symbol for Black women; she’s a representation of real women everywhere. She defies the Hollywood ideal of the perfect, polished woman. She’s big, strong, and unapologetically herself. And in that rawness, she reflects real women, who don't all have flat stomachs, tiny waists, or perfect hair. She’s a reminder that a powerful woman can look like anyone. One of the most iconic scenes in the series is when Annalise discovers her husband’s betrayal. She sits in front of a mirror, wipes off her makeup, and removes her wig. It's a powerful metaphor for her emotional breakdown, stripping away the armor she’s built around herself. But it’s also a bold rejection of the TV trope that women have to be perfect all the time. No, real women don’t wear makeup to bed or wake up looking flawless.
Beyond Annalise, the rest of the cast is equally well-developed. Connor’s charm shines as he navigates the complexities of a same-sex relationship, showing that a gay love story can unfold naturally, without unnecessary drama or forced social commentary. Michaela is another standout - a younger version of Annalise, hungry for success and unafraid to fight for her place at the table. Issues like gender equality, feminism, and LGBTQ+ representation are skillfully woven into the storyline, making these themes feel organic, not preachy.
Of course, at its core, "How to Get Away with Murder" is still a crime thriller. And in that regard, it delivers masterfully with sharp twists, tense moments, and clever storytelling. It’s not without its flaws - there are a few plot holes and occasional missteps - but the pacing, suspense, and characters make you forget about the small imperfections. Season one has wrapped up, and the show will return this fall with a brand-new case.
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