A Pack Of Lies
The interns try to keep their story straight, but they're not all on the same page.
After the murder, it's the after-murder. Annalise goes about explaining to police detectives that Sam fled town because she confronted him about his affair with the dead sorority girl. As B-sides from the Drive soundtrack throb and flashbacks to the night of the murder pop in and out, she sheds some convincing tears as she spins her yarn, and they seem to be buying it. Her new mission is to gather as much evidence as possible tying Sam to Lila's murder, thereby getting Rebecca's seemingly neverending case thrown out.
While she's moving all those chess pieces around, the interns are, as Annalise puts it, "wearing their paranoia on their sleeves." They struggle to keep level heads while faced with increasingly inquisitive cops, dissension among their own ranks, unrequited crushes, and the crippling weight of knowing they killed a guy. Well, everything except that last part. Most of them don't seem too fazed by that.
She's got her head on straight. She's the only woman in all of TV history to not touch the body or the murder weapon upon discovering her dead husband's body on their living room floor: that alone is a win. Annalise is all things this week. She has her way with both the legal system and her side-piece. She gives Mama Bear vibes to Wes when he needs them. And she's so good at pulling other people's strings, she even manages to convince traitorous Connor and Michaela to stand down. "Let me help you. Because if you do, I promise you will get away with this." Ha! She's going to help them? They do all her work for her. What, is she going to hire new interns to help the old ones? Still, she pulls it off with aplomb. Bonus points for keeping her cool in the face of those haters in the courthouse bathroom...and for washing her hands even though she only went into the stall to cry.
Look at Laurel, being all cutthroat! Her lying game is on point. Maybe it's because of those completely horizontal eyebrows, but nobody can tell when she's playing them -- not Frank, Michaela, Connor, or the cops. That "sometimes, Sam would look at me" line is a particular stroke of impromptu genius. She's a bit too smart to stay aboard this sinking ship, though. So maybe she's finally coming to her senses and realizes her Legal Aid boo was the right way to go after all. Or maybe, when she approaches him with sad "I want you back" eyes, she's just trying to see if she can wrap yet another sucker around her finger.
With just a few words -- "Let me be clear...." -- delivered in her signature frosty tone, Marcia Gay Harden (as Sam's sister, Hannah) sons all the the characters below. Harden is so good at embodying every school administrator/bureaucrat/conservative soccer mom you've ever met, then immediately loathed. With any luck, her role won't be cut too short the way Elizabeth Perkins's was. (Hey, bring her back, btw.)
Yes, Annalise. Since you asked, the D.A. does have the audacity to walk into your house and mock you the morning after your suspected-murderer husband vanishes. That's just how she rolls. With her acidic "See you in court, kids!" and her "Careful who you show your crazy to," the D.A. steals all her scenes (even the ones in which she's losing). Hopefully Rebecca's overturned case doesn't mean we've seen the last of this venomous chick.
He does "caged rat" quite well. Even before the chips are down, Connor's mind is already racing to prep Plans B through Z. His first brilliant notion: "Let's get drunk and enjoy our last day of freedom." After that brief (relatable) moment of defeatism, he seizes on the idea of claiming PTSD-related innocence. He's more than willing to snitch on whichever one of his fellow interns is closest, or looks at him sideways. He even thinks to customize his crafty appeals -- direct threats work best on Laurel, but with Michaela, it makes sense to remind her "a felony conviction won't stop us from sitting for the bar!" There are no flies on this boy. No sniveling. No hand-wringing. Just a pointer finger, cocked and ready to aim.
These three do little more than pine all night. Asher's caught feelings for Bonnie after their awkward one-night stand. Frank storms around so Laurel-obsessed that he completely misses the major conspiracy going on all around him. And Bonnie? Well, she wants a hug, but not from Asher. She's trying so hard to get back into Annalise's good graces, but there's no clear indication of why. We've seen enough of her "ride or die" assistant routine. It's high time for her to start showing her inner Iago.
"Are we going to be excused from the exam?" Of course she'd ask this question. At this point, I've grown to almost admire her commitment to being so Flick-ian. However, Tracy Flick would've never pulled the kind of amateur hour shizz that Michaela does during her police interview. It's no surprise she's the weak link, and little wonder she's the one Connor gets to turn. All this girl wants is her "A," her perfect fiancé, and her dream wedding. That wedding dress, though. I'd be a brat over that dress, too.
All of the leadership qualities he showed off at the height of this whole Sam cover-up have now gone out the window. His is the only tortured guilty soul of the group, resulting in a few tears to break up the tedium of all his blinking. He comes up looking like a mere walk-on, with Laurel and Connor supplanting him as the more dynamic, move-making interns.
She's free! Now she can nuzzle with Wes, rim her eyeballs with all the charcoal she's been missing during her court dates, and decorate their hovel with Charlie Brown's Christmas tree. Or, she can leave town forever. Please. Why are my requests going unheeded?!?