JackFalaheeWeb
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Welcome to Jack Falahee Web! This site aims to be your ultimate online source on all things related to actor, Jack Falahee. He currently stars as Connor Walsh in the ABC legal drama series, How to Get Away with Murder, and as Frank Stringfellow in the PBS period drama series, Mercy Street. Thank you for visiting the site, and check back soon for all the latest news, photos, media, and more on Jack.

I have added 315 HD screencaptures of Jack from the latest episode of How to Get Away with Murder “Best Christmas Ever” to the gallery!

Television Productions > How to Get Away with Murder (2014-) > Season 1 > Screencaptures > 1.11 – Best Christmas Ever
February 04, 2015
Articles Interviews Photos

Jack is featured in OUT magazine’s latest issue. I have added his photoshoot from the issue to the gallery! You can read his full interview below!

It all started with ass licking.

“I sort of jumped head first into it,” Jack Falahee says, “or was thrown, I should say.”

On the buzzy new show from TV’s most powerful producer, Falahee was “the gay one.” Two of the ensemble cast’s young law students were played by white guys, and he was the one you didn’t recognize from Orange Is the New Black (the other actor was Matt McGorry).

That’s no knock on his acting — from his first scene, Falahee’s feral charisma is captivating and chilling in equal measure — but initially it seemed like How to Get Away With Murder was simply following Shonda Rhimes’s standard, though admittedly groundbreaking, diversity script. And, anyway, who could see past Viola Davis’s powerhouse performance as the professor-mastermind, Annalise Keating?

And then.

In the debut episode, Falahee’s character, Connor Walsh, charms Oliver, an IT guy whose hacking expertise Connor needs to help Keating win her case. But Connor doesn’t stop once he’s got the intel in hand.

“Turn over,” he tells Oliver, and then runs his mouth all the way down Oliver’s spine.

Hit rewind. Reload that GIF. Send that spazzy tweet, making sure everyone else saw it. That’s what even the most jaded gay viewer I know did.

Sixteen years ago, the original, British Queer as Folk ruffled a few feathers when its premiere on publicly owned Channel 4 featured an even more explicit rimming scene (the devirginization of an underage teen played by Charlie Hunnam, no less). It was soon repeated on Showtime’s version. But on American network TV, in prime time? No one had gone there. Three episodes later, in case you had missed the headlines, they did it again. The object of Connor’s seduction that week was a cute executive assistant, ravaged on the floor of a copy room. A recording device planted on the dazed assistant captured the tryst recap he later offered to an accomplice: “And he did this thing to my ass that made my eyes water.”

One unamused viewer unleashed a firestorm, by tweeting at Rhimes that the show’s “gay scenes” were “too much.” Rhimes — who has more than 800,000 followers — replied forcefully, “There are no GAY scenes. There are scenes with people in them.” For clarification, she added: “If u use the phrase ‘gay scenes,’ u are not only LATE to the party but also NOT INVITED to the party. Bye Felicia.”

“Maybe I’m naive,” Falahee says, “but I was actually a little surprised.”

Falahee doesn’t own a TV, still borrows his parents’ HBO Go password, and uses his brother’s Netflix account to watch cable shows, which might explain some of his bewilderment at becoming the new poster boy for on-screen gay sex in mainstream media. “I’m glad that it is a big deal — it’s a huge deal — but you don’t think about that when you go to work. On Monday, I have to go and do a bunch of scenes, and I’m thinking about my actions and my goals and objectives — not I’m going to go make a difference.”

The series’ easy, explicit, and egalitarian writing shouldn’t come as much of a surprise — while Rhimes’s Shondaland production company is behind Murder, its creator and showrunner, Peter Nowalk, is himself gay. “I’m hoping it feels messy in the way that life is messy,” Nowalk says. “The fact that we’ve had some gay sex on the show has gotten more attention than any of us expected. For me it’s just equal opportunity.”
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I have added 325 HD screencaptures of Jack from Thursday’s episode of How to Get Away with Murder “Hello Raskolnikov” to the gallery!

Television Productions > How to Get Away with Murder (2014-) > Season 1 > Screencaptures > 1.10 – Hello Raskolnikov
January 29, 2015
Articles Interviews

If the first half of How to Get Away With Murder‘s freshman season left you in a state of shock and “aww hell no!,” you should probably brace for more of the same in its final six-episode run (kicking off tonight, 10/9c on ABC).

“It’s this never-ending balancing act — that’s why the writing is so good,” says Jack Falahee, who plays snarky, promiscuous law student Connor. “It’s in that space between absurdity and reality, that line between manic-ness and togetherness.”

We caught up with Falahee — along with co-stars Liza Weil, Aja Naomi King, Alfred Enoch, Charlie Weber and Matt McGorry — to get some teases about how the investigation into Sam Keating’s murder/corpse disposal will play out. We also asked them to consider whether some of the show’s unlikely couples have a chance of a happy ending.

Jack Falahee (“Connor”)
When last we saw Connor, he was spinning a tall tale to ex-love Oliver about being a relapsed drug addict — in order to explain his unhinged behavior on Murder Night. “It’s a pretty big lie. It was very bold of Connor,” says Falahee. “That’s the intriguing part of the second half of Season 1. The writers did a really magnificent job of constructing this web of white lies surrounding the murder plot: How can you maintain the charade of everyday life when you’ve hacked up someone’s charred remains?” Falahee adds that Connor will put a level of commitment into maintaining his addiction alibi, adding, “maybe that lie isn’t that far-fetched for Connor.”

Source

January 29, 2015
Articles Interviews

It wasn’t so long ago that Jack Falahee was working as a cater-waiter in New York before he moved to Los Angeles and scored a role as law student Connor Walsh on ABC’s fall breakout drama How to Get Away With Murder. If that wasn’t enough, Falahee in particular has received a lot of attention for his mischievous good looks and steamy gay sex scenes. Vulture caught up with Falahee before he went on set to shoot the final episode of the season. We talked about his favorite scene so far, what we can expect after the hiatus, and his favorite cartoon at the moment.

Viola Davis won the SAG award for Best Actress in a Drama. Are you guys going to be doing anything to celebrate her win?
That was amazing, huh? I hope so. I’m sure the producers have something up their sleeves. We finish the first season tomorrow and we’re having a big wrap party, so it’ll be celebratory as-is.

What’s it like working with her?
She’s been around. She knows what’s up. Even though it’s the first time she’s been No. 1 on the call sheet, she leads so naturally and gracefully. That has been a huge part of the success on set and all of us bringing our best work. The bar is just set so high. And Viola is the first to have a jag at herself for flubbing a line. She keeps it light, which is important because we’re dealing typically with pretty heavy story lines. We have a happy, healthy set, which I’m very thankful for.

You seem really close with the rest of your castmates, too.
We all get along extremely well, which shocks me, to be honest. You get a bunch of actors in the room and you figure a few of them have to be assholes. But I think it’s a testament to Shonda [Rhimes] and Pete [Nowalk]. They flew us out a week early to Philadelphia to shoot the pilot just so all of us youngsters could hang out and get to know each other. From day one, we were romping around the streets of Philadelphia and just having slumber parties with cartons of ice cream.

You’ve mentioned that Connor is someone who uses his mind and his groin but not really his heart. I was hoping you could elaborate on that a little more.
I was talking to a buddy around pilot season last year, about things we quickly do for character work with the little amount of time we have. He said he breaks characters down into the groin, heart, and brain, and that that creates an easy vantage point to unpack the character in an accessible way. I began to approach Connor from this place of the brain and groin, but obviously, as the season has progressed and more has been written about Connor, I’ve come to learn who he is beyond that. So that’s always changing. It’s not to say that Connor doesn’t have a heart or act from that place, but yeah, it was definitely a jumping-off point for me.

Oliver seems like he’s trying to get Connor to use his heart, but he’s not used to doing that. Do you know if we’ll see more of Oliver in the second half?
We might. Obviously, Connor went to Oliver’s place that night, and pedals back, saying that he’s an addict. So we definitely do see them work through that moment, to say the least.

Were there moments during the night of the murder that you thought, Why didn’t Connor just leave?
There were often times where I would wonder why Connor isn’t calling a lawyer or why isn’t he out the door. But I think that Connor also knows at a certain point in the night that he’s been implemented enough that the other students could potentially throw him under the bus. There is this fear that leads to solidarity, and that’s something that the second half of the season explores — how involved each of them are emotionally and legally. How far have these kids dug themselves into their own graves, so to speak. So that definitely flashed across my mind, but there was a point of no return where Connor’s just like, All right, well, I’m part of this now.
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