This season continues to exceed my expectations, and I can’t believe we’re just one episode away from finding out who shot Annalise.
I Want You to Die is crammed with several powerful scenes, most notably because Eve is back! I really wish Famke Janssen would join the show full-time because all of her scenes are absolutely electrifying, whether she talks with Annalise in the car about running away together and leaving everything behind or when she has a tense, emotional talk with her about why she continues to protect Wes. It’s incredible to see her on the show again after she left a noteworthy impression on us in the season’s second episode because the writers are treating her as an actual person from Annalise’s past rather than a one-time thing. Also, it really does feel like Annalise and Eve are the endgame couple right now which is both insane and exciting.
I also love that the show keeps throwing breadcrumbs about its most complicated mystery yet – Annalise and Wes. It’s no secret that everyone watching the show from the start have constantly wondered if these two are mother and son or not, and this episode does nothing to prove that they are. It does, however, finally acknowledge the fact that Annalise does have some kind of a history with him, as was obvious from her conversation with Eve. It’s quite amazing how Eve immediately understands who “him” is, and I love how that entire scene is really more about Annalise and Eve and their complex past than it is about Annalise and Wes. But boy, I’d be lying if I said I didn’t get the chills just hearing Viola Davis saying “it’s him”.
And because this show works best when pitting Davis in the same room with another powerful actress, it was hard not to love Annalise and Bonnie’s screaming match. These two have one of the most intricate relationships on this show, and while they’ve had their fair share of incredible scenes in the past, this one was unlike anything we’ve ever seen. There’s no hidden secret or mystery surrounding Bonnie anymore, and the brilliance of gradually developing this character over the past season and a half finally shows here: all the cards are on the table, and these two women let it all out once and for all. Absolutely chilling and Emmy-worthy, if you ask me.
Of course, this show does feel like it’s telling so many stories all at once sometimes. Amidst the Annalise/Eve and Annalise/Bonnie drama, we had a boring weekly case, uninteresting Asher/Bonnie drama, more trouble for Oliver, more shocking revelations in the flash-forward (oh Bonnie, what did you do?) and a murderer named Philip on the loose.
But seriously Bonnie, what did you just do?
Sneaky Courtroom Bits
– Of course, it wouldn’t be HTGAWM without some witty banter, so make sure you check out the quotes section below for some comic relief.
– Absolutely loved Annalise and Eve’s scene in the car, discussing Paris and leaving the case behind. Even better is when it does look like Eve was purposely losing the case (when she declines to cross the nurse at court), but of course that was just a red herring. God, I love this show.
– I wasn’t too fond, however, of the weird camerawork in the car. It seemed like it was just hovering over the actresses’ heads at one point.
– Loved Annalise and Oliver at the house and how she thanks him for constantly saving their asses. About time someone noticed.
– Laurel’s fake accent was hilarious! But it was surprising to see Annalise compliment her (by not actually complimenting her).
– Let’s just put this out there: Sinclair is a real nightmare and no one is going to miss her when she dies. She does make a fantastic villain though, right?
– As much as the show wants me to care about Asher and Bonnie or Laurel and Frank, I still find myself feeling pretty indifferent about these pairings.
– Eve and Annalise drinking wine and talking about Wes is definitely a scene worth seeing multiple times. I love how they get each other so effortlessly.
– How suspenseful and thrilling was that sequence in the end involving Connor waiting for Philip to show while Bonnie and Annalise scream at home? And then of course, that pulse-pounding scene at Oliver’s place. Yikes. But he’s gonna make it, right?
– So, Bonnie pushed Sinclair? Intriguing. But what exactly does Wes thinks he’s going to do with that gun? Ah, funny how chaos ensures when Annalise isn’t there to save the day.
Amusing Keating One-Liners
Annalise: You’re messing with the wrong bitch.
Annalise: You think this is a democracy? You go where I tell you to go.
Oliver [about Annalise]: She’s so much nicer than you said.
Eve: I have to make a confession. I may be just a tiny bit happy that Nate killed his wife. ‘Cause it means I get to see you again.
Annalise: You could throw the hearing, Nate goes to jail, we run off together.
Eve: We could open a practice, but in Paris. Work 20 hours a week…
Annalise: Spend weekends in bed.
Annalise: You’re a stalker, you’re pathetic, and you’re fired.
Annalise: You want the trophy? It’s in a box in the basement.
Annalise: Me not paying attention to you is the best compliment you could ever get. Because that means I don’t have to worry about you. Go back to the office and stop being needy.
Michaela [to Oliver]: Oh my God, you are one of us now.
Connor: No, he’s not, and you are not going on a coffee date with a serial killer.
Annalise: You killed a girl in my basement and put a plastic bag over her head.
Bonnie: To protect you!
Annalise: And I did what I did to protect you.
Bonnie: No, you did this to ruin me, the one good thing I had in my life.
Annalise: Oh, don’t you dare. Every good thing in your life is because of me.
Bonnie: You mean despite you.
Bonnie: I want you to die. That’s what I want…that it was you they killed in this house, not Sam. Because he’d have never done this to me.
While the show continues to tell so many different stories at the same time, it does so in a way that’s still thrilling and entertaining. Color me impressed.