The toxic relationship between bonnie and Anna is still one of the best parts of how to get rid of murder?
Despite the many narrative flaws, “how to get rid of murder” remains one of the most strident depictions of television poisoning. Unusual character dynamics are a strange thing to praise, however, how to get rid of murder makes it extremely high in character and underestimates part of its fabric. The characters are constantly pulling each other to the point of exhaustion, and everyone’s motivation is chaotic. But there is usually a clear root cause. Because almost all relationships in this exhibition are based on guilt, power, manipulation, and trauma.
“Our whole relationship is an apology”, and bonnie is in such a scene that “everything we do is nothing,” and the whole episode may be just that. Annalize asked Bonnie to apologize for Frank’s insistence, but Bonnie made it clear that Frank was not there any time soon. The relationship between Bonnie and Annalize has a complex feel, because close relationships are very complex and unique. Magnification, I think this program can sometimes not really deal with the dark depths implied by their relationship, especially in the moral aspect of Annalize. And then there’s this scene between Annalize and Bonnie, and in the context of the whole show’s inconsistency and failure,
Showrunner Peter Nowalk pointed out on Twitter that it was him, Liza Weil and Viola Davis, sitting down in his office, “weaving it like a play.” It has a definite dramatic meaning. Weill and Davis have a strong sense of body as stage actors, and they realize their every breath./
The scene refers to their past in a way that gives new meaning to the present. It’s all about the fleeting disappearance of this relationship and the urgency of pulling us to their emotions.
But slightly larger, “everything we do is nothing” is a mess. Worse than chaos, this is actually boring. Laurel’s fighting proved that she was mentally strong enough to go home. Connor and Asher are helping Annalize and her collective action (remember? !). ; Oliver tried to reconcile with what they had done to Simon. Frank was floating around like his faithful and useless disciple. Denver and George are working together very well, and nate is just filling in the blanks. There is not much continuity in all of these connections, and the characters are only through the action of the plot, as the writer arranges a piece of laurel jorge’s custody of the show.
How to avoid the irritation with murder. This is not always a bad thing. This is a disturbing, stilted, disrespectful performance. It does not rigidly adhere to traditional TV dramas, by integrating conflicts into neat bows, or by making their role motivation easy to categorize and linearize. This is ultimately a performance about trauma, which is never easy to categorize, nor is it linear. This can be an exhausting, frustrating performance, but sometimes its weaknesses become strengths. How to get rid of the murder by tilting to the most toxic and undefined relationship to push the envelope. Bonnie in the amazing bonnie/scenario AnNaLi ze said, “our relationship with each other than any stupid husband or wife or husband is much more complex, we can see everything is fully support what she said. How to get rid of murder is not just an exploration of moral gray, it explores emotional grey, especially when it comes to relationships.
Frank and laurel also exist in this gray area. She tried to protect him by not telling anyone why she had offered her baby early, but when Michaela pressed it, she eventually broke down. Annalize convinces Michaela that Laurel really does harm to her, and once she knows the truth, she immediately records it, because Michaela’s intense love for Laurel has been going on for some time. “It’s a stupid boy fight,” she blurted out in Annalize and frank, highlighting the tragic roots of laurel’s near-miscarriage.
So, yes, “everything we do is nothing.” But in general, this is boring and unimportant. There are very few plots, and only so many good performances can keep everything going. The fluency and flexibility of careful character work in an isolated scenario is highlighted by the rest of the program, and begins to feel too rigid and suffocating, really appealing.
So now what about Nate’s lecture, Annalize, with this class action lawsuit? Can writers pretend that Nate’s presence is more than just a promotion?
Of course, laurel’s mother would be thrown into the mix.
Using Isaac’s daughter to help him solve the problem is… Force. Isaac never clicked as a character, and his background seemed to be a convenient plot.
Tegan’s warning to Michaela is another highlight of the scene. I hope we can get Tegan’s development soon, because she has a lot of fun.