The debut of “How to Get Away with Murder” promised a diverse cast and a strong Black female lead, a refreshing change of pace for network television. While Shonda Rhimes had achieved similar success with “Scandal,” the prospect of Viola Davis leading a complex legal thriller was undeniably alluring. However, the initial excitement surrounding the show quickly dissipated as the narrative unfolded, revealing a troubling reliance on harmful stereotypes that undermined its supposed commitment to diversity.
The first season was captivating. The central mystery—who killed Sam?—fueled weekly discussions and generated genuine excitement. The show felt innovative and breathed new life into the genre. But the cracks began to appear in the second season, exposing the stereotypical tropes that had been lurking beneath the surface all along, masked by the compelling performances of Viola Davis and Alfred Enoch. The realization that the show wasn’t breaking down stereotypes, but rather relying on them for dramatic effect, was deeply disappointing. This reliance on harmful representations is evident in the character arcs of Annalise Keating, Wes Gibbins, Laurel Castillo, and Oliver Hampton.
Annalise Keating: The Burden of Representation
Annalise Keating is introduced as a brilliant, powerful, and beautiful Black woman, but her character is immediately burdened by a complex web of stereotypical pitfalls. She’s presented as unfaithful to her husband, engaged in an affair with a married man, Nate Lahey. While the show attempts to mitigate this by portraying Sam’s infidelity and the deterioration of their marriage, the initial image of a dysfunctional interracial relationship persists.
Furthermore, Annalise struggles with alcohol, has a strained relationship with her mother, and resorts to ethically questionable tactics in her legal career. While complex characters with flaws are essential for compelling storytelling, the sheer volume of Annalise’s struggles reinforces negative stereotypes about Black women. Her involvement in covering up her husband’s murder further complicates her portrayal, raising questions about the narrative choices that shape her character arc.
Wes Gibbins: The Scapegoat
Wes Gibbins, affectionately nicknamed “Waitlist,” initially appears as a promising young man who has earned a place at an Ivy League university. However, the show quickly dismantles this image, revealing that his admission may have been influenced by Annalise’s intervention following his involvement in a childhood tragedy. Wes becomes the show’s scapegoat, responsible for Sam’s death and Annalise’s shooting. His troubled past is exploited as a justification for his violent actions, perpetuating harmful stereotypes about Black men and their inability to control their anger.
The tragic trajectory of Wes’s character is further compounded by the loss of his mother, girlfriend, and the traumatic experience of witnessing his father’s murder. His eventual death at the end of season three, without a redemptive arc, feels like a wasted opportunity to explore the complexities of his character beyond stereotypical limitations.
Laurel Castillo: Trapped by Family Drama
Laurel Castillo, a Latina woman, is portrayed as intelligent, driven, and fiercely loyal. However, her character becomes entangled in the stereotypical narrative of a dysfunctional Latino family involved in shady dealings. Her father’s refusal to pay a ransom after her kidnapping and her mother’s subsequent mental breakdown contribute to a narrative that reinforces negative stereotypes about Latino families and their involvement in criminal activities.
Laurel’s pregnancy with Wes’s child at the end of season three further complicates her situation, placing her at the center of a conflict involving her father and Annalise, both of whom suspect him of foul play. This narrative choice reinforces the trope of the Latina woman trapped by family drama and undermines the potential for a more nuanced portrayal of her character.
Oliver Hampton: The HIV Stereotype
Oliver Hampton, a fan-favorite character, is initially presented as a kind, intelligent, and supportive partner to Connor Walsh. However, the show’s decision to introduce an HIV storyline for Oliver feels contrived and reinforces harmful stereotypes about gay men. While the intention may have been to spark a conversation about HIV prevention and diagnosis, the execution falls flat, reducing Oliver’s character to a vehicle for generating sympathy and reinforcing the association of promiscuity and HIV within the gay community.
A Missed Opportunity
“How to Get Away with Murder” had the potential to challenge stereotypes and present nuanced portrayals of diverse characters. However, its reliance on tired tropes ultimately undermines its supposed commitment to diversity. The show’s creators missed an opportunity to explore the complexities of identity and experience in a meaningful way, instead opting for sensationalized storylines that perpetuate harmful representations. The decision to kill off Wes, a character with significant potential for growth and development, further underscores the show’s failure to fully embrace the complexities of its diverse cast. The continued reliance on stereotypical portrayals of characters like Michaela Pratt as the “angry Black woman” and Annalise Keating as the emotionally unstable Black woman further diminishes the show’s potential for meaningful social commentary.
While “How to Get Away with Murder” initially captivated audiences with its intriguing premise and diverse cast, its ultimate legacy is marred by its reliance on harmful stereotypes and missed opportunities for genuine representation. The show’s failure to transcend these limitations leaves a lingering sense of disappointment and a reminder of the importance of responsible storytelling in a diverse and complex world.
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