Have you ever watched a show and, despite disliking so many aspects of it, continued watching, even on to the next season? It could be that the plot is genuinely gripping, or that you are interested in one particular character’s story arc, even if it is not the lead one. Sometimes it could just be habit or the comfort of the known- why risk something new that could be worse?

Most of the above applies to How to Get Away with Murder. Let’s start with why I dislike aspects of it, aspects of which probably cover what I have written previously about it. Firstly, I despise the vast majority of the characters. The students all appear to thin-skinned drama queens, whose sole mission seems to be make things worse until some freaky lightbulb moment occurs and they save the day. Even these though just spin off into a bigger problem.

Of course, that is nothing compared to my hatred of Annalise Keating. I find it odd that a major network drama is so dependent on someone who is impossible to warm to. The same problem is perhaps found in Frank Underwood in House of Cards, but at least he is a genuine anti-hero. Annalise is just a tetchy control freak.

The attempts to make her more sympathetic are confusing. I am currently in the second half of the second season, where we are leading to the build-up of her losing her child. Obviously, this is a traumatic moment, yet does little to counteract the coldness of her in the present day. Likewise, a supposed bisexual past and sexy dancing in the club feel tacked on to a character who, if was more well-rounded at the start, seems to lack depth.

There are signs though that the problem, at least with some the cast members, is being fixed. Connor and Laurel in particular are beginning to show something genuine about them. Connor is softening emotionally whilst also being a surprising moral compass, whilst Laurel is showing a self-awareness and an ability to look outwards lacking from the others. Even the rest are beginning to form a cohesive group, increasingly wary of their boss and aware of her fallibility.

Of course, the plot seems as silly as ever. Killing a DA and then pinning it on your client in order to get to the perpetrator of the murder that you were originally defending your client stretches the bounds of realism to the point where they nearly snap. And yet, you want to see if everything can be pulled off.

Weirdly, it is when this show tries to form an emotional heart, the thing it most lacks, that it veers off course. You can’t help feeling that Annalise would be better off served going full Underwood and throwing off her emotional past to drive forward and win, if not love, some genuine respect from the viewer. As it is, this show is fun to watch, but hard to engage with.