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Viola Davis is the show's star, and her portrayal of central character Annalise Keating, a defense attorney, is incredibly removed from the roles Davis has played in the world of film. Turning these would-be saints into sinners is the best part of this fall season's most exciting new show.
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It all starts with Viola DavisĪ product of Shonda Rhimes's Shondaland production company and creator Peter Nowalk, How to Get Away has taken characters - a gay man a privileged, young, intelligent black woman a black man on a law school waitlist an Ivy-League educated Latina - that have usually been dutiful token characters on network shows, cooked them in same gooey soup of amorality belonging to Tony Soprano and Frank Underwood, and shown that they can be as morally confusing and dastardly as the rest of humanity. And How to Get Away with Murder knows this better than any show on television. Having a minority character be perfect or saintly is as unrealistic as having no one there. They refer to these characters having as wide a range of potential roles as we afford to white, straight men.
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Diaz's words don't just refer to the way someone looks or the color of someone's skin. But television history is littered with failed attempts at "diversity," resulting in token characters who end up being the only minority (racial, gender, sexual) in the room, and, more often than not, too perfect or too earnest to be real human beings. It's not that television hasn't tried to be more inclusive. "If you want to make a human being into a monster, deny them, at the cultural level, any reflection of themselves," he told the class, telling them his experience of growing up and never seeing people like himself in the reflection that is television, literature, or movies. Pulitzer Prize-winning author Junot Diaz was speaking to a class of community college students in New Jersey five years ago when he unleashed a searing observation about representation and being a non-white person in America.