Post Mortems

HTGAWM Recap: Trigger Warnings — Plus: Charlie Weber Breaks Down That Frank/Annalise Explosion

Well, we finally know who’s under the sheets on How to Get Away With Murder.

Please note, however, that I said “sheets” plural, not “the sheet” beneath which some unidentified corpse — Frank? Nate? the slap-worthy Mr. Drake? — is in the early stages of rigor mortis during the ABC drama’s flash-forward “Fire Night.”

Allow me, though, to pause here, take a shot of Fireball and praise the TV gods (or at least HTGAWM creator Pete Nowalk): “Woohoo! My beloved Connor isn’t covered in Keating-residence soot and ready to retreat to his final resting place!” Sure, dude really needs a date with a can of Barbasol and a disposable razor, but as this week’s final scene reveals, Impish McSexyface is alive and well and doing all kinds of beautiful nasty with the current crush of his recent ex (aka Hirsute van Pantsdown, the dude who broke Ollie’s heart). #IDidNotSeeThatComing (pun intended)

Meanwhile, the disturbingly clean-shaven Frank remains the show’s No. 1 candidate for a dirt nap, as he ends the hour pointing a gun to his chin in an effort to gain forgiveness from Annalise, only to hear her sceam “Do it! Pull it! Do it for me!” (And here we thought the nanny in The Omen was disquieting!)

We caught up with Frank’s portrayer, Charlie Weber, for his insights into the hour, but before we get to that, let’s recount the other big moments from Season 3, Episode 8, “No More Blood.”

SIX DEGREES OF SUBTERFUGE | Annalise and Bonnie want the Keating Five to help Wes avoid the legal ramifications for lying to NYPD detectives about what went down the night he saw his secret biodad take a bullet to the head in front of his office. Michaela and Connor are, not unjustifiably, all “Bye, bitches — midterms are upon us!” And thus, Annalise finds herself requesting help from estranged Frank to clear the name of her favorite student/personal rehabilitation project/surrogate son.

“You gonna take Frank back? He’s responsible for you losing your baby,” huffs the ever ungrateful Wes. To which Annalise shoots back, “And you killed Sam.” Fetch some Bacitracin, folks, ’cause that retort burns!

With involvement from Nate (who can never, ever seem to give a hard “no” to Annalise or her surrogates — and makes me wonder if he’ll wind up paying for it), Team Keating gets a burner phone to Charles Mahoney, calls it from a phone from inside the home of his main alibi (more on her in a sec), and completely undermines the prosecution’s portrayal of said chica as some casual hookup who hasn’t seen Frank for months. It’s a fun little ride — just as long as the show’s producers don’t fall back on the corniest, least emotionally satisfying mid-season finale and make Charles the #UnderTheSheet victim.

THE BEARD RESTS | Frank begins the hour much the same way he ended last week’s installment: As a weepy, vulnerable man with no plan. “I’m scared what I’ll do if I’ve got to be alone tonight,” he pleads to Laurel, trying to land overnight accomodations both ritzier and less expensive than the delapadated flophouse I imagine he’s booked 20 blocks away. After Annalise (via Bonnie) enlists Frank in clearing Wes’ name, though, dude’s creepy side re-emerges, and he follows Charles’ attorney to a nail-salon meetup with THAT BITCH (aka the redhead who convinced Frank way back when to sell out Annlise for cash, resulting in the death of her unborn child). Frank winds up sneaking into the woman’s house — and hiding in her toddler daughter’s bedroom — but while he consider’s an “eye for an eye” revenge strategy, Annalise ultimately gives him different directions, resulting in the aforementioned discrediting of Charles Mahoney’s main alibi witness.

Like a proud cat coming home with a dead mouse, Frank shows up at Annalise’s doorstep, but finds her as far from forgiveness as Bernie Sanders from a position in Donald Trump’s cabinet. When he finally puts a gun to his head, Annalise wonders aloud if he’s trying to guilt her into taking him back… and let’s just say she’s not here for his brand of drama. “Do it! Pull it! Do it for me!” she rages, just as Bonnie sneaks into the room with all the noise of an infant mouse meekly seeking crumbs from the banquet-hall feast — and postpones the trigger-pulling.

IN OTHER NEWS… | Oliver and Connor share the world’s unsexiest shower — mainly because the hacker hottie can’t stop asking questions about Connor’s latest top-secret work for Annalise. The duo finally has a nasty skirmish about Connor’s secretive ways (which, as we know, serve mainly to protect Ollie) and Oliver’s suspicion that Connor’s lack of forthrightness means he’s not capable of true love. “And I kept telling myself that I was the jerk this whole time,” seethes Connor — and he’s got a point here! Of course, he loses his moral high ground at the end of the hour when we catch him at the climax of a sex act with Ollie’s most recent mancrush. Way to hit below the belt*, Connor. (Pun intended)

Meanwhile, Asher makes a mistake that will almost surely go brutally punished when he answers an incoming call from Michaela’s estranged mother. This, after she opens up and reveals her mother only calls when she’s seeling money — or legal advice “for a meth-y cousin.” Oh, and also… Annalise agrees to represnt Hargrove in her divorce proceedings. Future besties alert?!

Below, Weber’s take on that explosive scene with Annalise — and much more.

TVLINE | Walk me through Frank’s intense showdown with Annalise — where he has a gun to his head and is threatening to pull the trigger? How did you feel when you first read the script — and got wind of Annalise’s response?
It was a not shock to read it, because I knew that was coming. From a creative standpoint, the scene was great. And preparing for it was its own challenge — to be that far gone, to go to that place. But actually doing the scene, hard as it was to live in that space, when you’re across from Viola Davis, it just comes together because of what she does. Then Bonnie comes in and you have these three forces — and while the scene was heartbreaking and difficult, it was really lovely in its own way.

TVLINE | Annalise essentially tries to call Frank’s bluff, saying his behavior is calculated just to make her feel guilty — a stance she does not accept. I wonder, though, is she onto something. Are Frank’s tears genuine?
Well, it’s definitely a ploy. He wants her to stop him. He wants her to want him to live. But he is willing to [kill himself].

With Frank, you’re definitely seeing an emotionally stunted person falling back into horrible times that he’s experienced. But this is ten-fold. He found a place and a purpose — and now he has nothing. And he will do whatever it takes to get that back.

TVLINE | Including hiding in the closet of an innocent child’s bedroom — and seemingly pushing for the idea of eye-for-an-eye! Did you think Frank might kill that little girl?
Again, Frank is just so far gone. I’m starting to wonder if there’s any line he wouldn’t cross — with this instance being the ultimate line — so Annalise would realize he’d do anything for her. It was a very frightening scene.

TVLINE | What can you say to us about the “Under the Sheet” reveal?
Buckle up. It’s intense. And it’s hard to watch — but in a great way.

Do you think Frank will survive the Season 3 mid-term finale? If not, who’s doomed? Sound off in the comments  below!

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