Let's be real for a second. By the time a high-octane legal thriller hits its fourth year, the wheels usually start falling off. The plot twists get desperate. The characters start feeling like caricatures of their former selves. But the 4th season of How to Get Away with Murder did something weirdly brave—it slowed down. It stopped trying to out-shock the "Who Killed Wes?" cliffhanger and actually dealt with the wreckage.
It’s messy. It's loud. Honestly, it’s probably the most human Peter Nowalk’s writing ever got.
If you’re revisiting the series or diving in for the first time, you have to understand the headspace of these characters. Annalise Keating is at rock bottom. No, seriously. She’s lost her license, she’s in therapy with a man who has his own massive suitcases of trauma (shoutout to the late, great Jimmy Smits as Dr. Isaac Roa), and she’s trying to dismantle the entire class-action legal system while barely being able to keep her own life together. It shouldn't work. But it does.
The Annalise Keating Redemption Arc (Sort Of)
Annalise spends most of the 4th season of How to Get Away with Murder trying to prove she isn't the monster everyone thinks she is. This isn't just about winning cases anymore. It’s about the class action.
The "Keating 4"—down one member after Wes’s brutal departure—are drifting. They’re trying to find internships. They’re trying to be "normal" law students, which is hilarious because they’ve all covered up at least two murders by this point. Michaela Pratt is out here trying to be the next Tinsley Mortimer while Laurel Castillo is spiraling into a deep, dark obsession with her father, Jorge.
It’s a lot.
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The shift in tone is palpable. The lighting feels grittier. The pacing feels more like a character study than a soap opera. When Annalise tells the kids they’re "fired" in the premiere, it feels like a genuine breakup. You can almost feel the collective sigh of relief and terror from the Keating 4. They’re free, but they’re also totally lost without her.
Isaac Roa and the Therapy of It All
Introducing Isaac Roa was a stroke of genius. Most legal shows use therapy as a gimmick or a way to dump exposition. Here, the sessions between Annalise and Isaac are the heartbeat of the first half of the season.
They’re mirrors of each other.
Both are addicts—Annalise to booze and power, Isaac to his own grief and substances. Watching them peel back the layers of the Mahoney case and Annalise’s past loss is some of Viola Davis’s finest work. It’s quiet. It’s uncomfortable. It reminds you that underneath the silk scarves and the fierce courtroom walks, Annalise is a woman who has been systematically broken by a system she’s now trying to fix.
That Crossover Everyone Remembers
We have to talk about the Scandal crossover. It was the "Infinity War" of TGIT (Thank God It’s Thursday). Seeing Annalise Keating and Olivia Pope in the same room was a fever dream for anyone who lived through the Shondaland era.
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But beyond the fan service, it served a massive purpose for the 4th season of How to Get Away with Murder. It elevated Annalise’s class action lawsuit to the Supreme Court. It gave her the legitimacy she had been craving. When she stands before the justices, it isn't just about the fictional characters; it’s a searing indictment of the real-world American public defender system.
It felt important.
The dialogue in those scenes wasn't just snappy; it was heavy with the weight of systemic racism and judicial neglect. Seeing Annalise win—actually win something pure—was a rare moment of catharsis in a show that usually trades in misery.
The Laurel Castillo Problem
Now, not everything was perfect. Laurel’s storyline in the 4th season of How to Get Away with Murder is polarizing, to put it mildly. Her obsession with her father, Jorge Castillo, and Antares (the family company) drives the back half of the season.
It leads to the infamous elevator scene.
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You know the one. If you’ve seen it, you can’t un-see it. It was one of the most graphic, harrowing sequences ever aired on network television. While some fans felt the "evil dad" trope was a bit much, it anchored the season in a high-stakes conspiracy that forced the group back together. It proved that no matter how hard Annalise tried to push them away for their own good, they were bound by blood and secrets.
Michaela’s transformation this season is also worth noting. She goes from being the overachiever to someone who is willing to deport a classmate (Simon Drake) to protect her "family." It’s dark. It makes you realize that Annalise didn’t just teach them law; she taught them survival at any cost.
Why the Ending Hits Different
The finale of this season, "Nobody Else is Dying," feels like it could have been a series finale.
Everything comes full circle.
The mystery of who killed Wes is finally, definitively (mostly) put to bed. The introduction of Gabriel Maddox in the final seconds was the perfect "wait, what?" moment to bridge into the future, but the emotional core was the image of Annalise holding Laurel’s baby. It was a moment of life in a show obsessed with death.
Key Takeaways for Fans and New Viewers
- Watch for the nuance: This season isn't just about the "who dunnit." It’s about the "why do we do it." Pay attention to the quiet scenes between Annalise and her mother, Ophelia (Cicely Tyson).
- The Class Action is the star: Follow the legal thread of the class action carefully. It’s the most realistic portrayal of the legal struggle the show ever attempted.
- Character over Plot: If you found the previous season too chaotic, this one rewards patience. The payoff for Michaela, Connor, and Asher’s individual arcs is significant here.
The 4th season of How to Get Away with Murder remains a masterclass in how to reinvent a show without losing its soul. It balanced the ridiculousness of a "baby in a bag" heist with the gravity of a Supreme Court hearing. That’s a tightrope walk very few writers can pull off.
If you're looking to dive back in, start by focusing on the relationship dynamics in the first five episodes. Notice how the power balance shifts. Annalise is no longer the boss; she's the underdog. That reversal is what makes the entire season click. Grab some popcorn, maybe a glass of vodka (Annalise style, though she’s trying to quit), and pay attention to the details. The clues for the series finale are actually buried right here in season four's soil.