#SO MANY THEORIES COMING OUT

[ryoheiii]

I FEEL LIKE I JUST WON WAR

[s0fter-sin]

one of my favourite aspects of supernatural that you very rarely see in paranormal shows is that sam and dean are already versed in the world they live in. there’s no sudden discovery of ghosts and demons and now they have to learn about them along with the audience; they are born into it and already know all about it. it allows the audience to follow their personal story instead of also trying to figure out this new world and its rules

the first season is full of knowledge we never see them learn; “w*ndigoes are in the minnesota woods or- or northern michigan. i’ve never even heard of one this far west.” […] “great. well then this [his gun] is useless.” (1x02), “you don’t break a curse. you get the hell out of its way.” (1x08), d: “it’s a god. a pagan god, anyway.” […] “the annual cycle of its killings? and the fact that the victims are always a man and a woman. like some kind of fertility right.” […] s: “the last meal. given to sacrificial victims. d: “yeah, i’m thinking a ritual sacrifice to appease some pagan god.” (1x11)

almost every episode in the first season is a monster they’ve faced before that they then explain to the audience in a way that should feel patronising; like it’s the same speech given over and over again but instead, the audience almost feels included in the knowledge. it’s stated with such an innate confidence and comfort in said knowledge that it feels like we already knew it too; “spirits and demons don't have to unlock doors. if they want inside, they just go through the walls.” […] “the claws, the speed that it moves; could be a skinwalker, maybe a black dog.” (1x02), “it's biblical numerology. you know noah's ark, it rained for forty days. the number means death.” (1x04), “no no no, not the reaper, a reaper. there's reaper lore in pretty much every culture on earth, it goes by 100 different names.” […] “you said it yourself that the clock stopped, right? reapers stop time. and you can only see 'em when they're coming at you which is why i could see it and you couldn't.” (1x12)

they already know and, at least in the first season, already have what they need to kill whatever they’re hunting; already know to salt and burn bones for spirits, fire for a w*ndigo, exorcisms for demons, a silver bullet to the heart for shapeshifters. there’s only three times in the entire first season that they run into something new to them; 1x14 when sam gets his first vision that leads him to another psychic, 1x16 when dean calls caleb for help on the sigil he put together and he tells him about daevas, and 1x20 when they find out vampires are real- and they only don’t know that bc john thought they were hunted to extinction and not worth mentioning

(there’s also technically two half instances if you count one of them knowing something the other doesn’t - sam figuring out the tulpa in 1x17 and dean already knowing about the shtriga in 1x18 - but those still rely on sam and dean having prior knowledge)

even when they’re uncertain about facing something, it’s not bc they don’t know what it is; it’s precisely bc they know what it is and acknowledge that it’ll be a difficult hunt (“i don't know, man. this isn't our normal gig. i mean, demons, they don't want anything, just death and destruction for its own sake. this is big. and i wish dad was here.” 1x04)

so much of the tension in paranormal shows typically comes from the main character(s) not knowing what is happening to them/the people around them and having to find out how to resolve it. supernatural is unique in that it operates more like a police procedural. the tension comes from solving the clues and identifying patterns to figure out who (what) the killer is and intercepting before they can take another victim

it’s such a different tone to go for when compared to other shows that came both before, during, and after its run. it sets sam and dean on even footing with each other since they both have the same knowledge going in, and it puts them in a place of authority usually reserved for an outside character

the shows i compare spn to most is charmed, buffy and teen wolf; every main character in those shows are brought into the paranormal world knowing nothing, putting them on the same level as the audience, and they have their mc interact with others already knowledgeable about that world in order to overcome their problem/monster of the week. the audience organically learns about this new world as the characters learn about it. it’s a sound writing strategy that prevents “as we already know”-style exposition but something that complicates it is if your world building isn’t unique or intriguing enough, this slow introduction can become boring

we’ve seen shows like these before; sitting through the same tropes of characters learning to use their powers, struggling with no longer feeling normal/relating to the regular world around them, and not knowing how much they can trust the people already involved in this new world gets repetitive. all three shows eventually reach the same level of comfort with their new world that spn starts with but if the characters aren’t enough to draw you in, you can end up dropping it before they reach that point (and often, before the overarching plot can really kick in and evolve the show beyond the villain of the week format)

it’s the superhero origin movie in tv format; dragged out and overplayed. dropping the audience into an established world of course comes with its own problems but you also have the benefit of pre-existing established character dynamics that let the audience slot in like they’ve always been there instead of just getting to know all the characters while the characters also get to know each other

sam and dean already knowing about the supernatural lets the audience immediately get to the core of the story; the conflict between sam and dean, the search for their father, and the mystery of what killed their mother

[rosesofenvy]

How Far We’ve Come - Music Theory Analysis

[Disclaimer: I went to university for music as a violin primary and have the most confidence with classical strings. I passed my piano proficiency courses, but that is the extent of my piano knowledge. It has been a few years since I have done an in-depth composition analysis of any piece, let alone transcribing a piece by ear and then analyzing it. Music theory has never been my strong suit! Please excuse any mistakes in notation, and any inaccuracies in my transcription or analysis. I did my best and this was purely for fun *shaky thumbs up*]

----------------------

'How Far We’ve Come' by Harlan Guthrie is a duet between Grand Piano and Cello. This piece opens with solo piano, either in a pickup measure or in a single measure of 2/4 before transitioning to 4/4 time in measure 2. Throughout its entirety there are many moments of rubato which have been notated as ritardando and a subsequent a tempo. To most accurately follow the phrasing, listening to the recording is highly recommended.

This piece begins in the key of F#M or the enharmonic spelling of GbM. Although unpleasant to look at with either 6 sharps or 6 flats, depending on which spelling is followed, this key is often used by composers to invoke emotions of a conquest story, evoking relief, triumph, victory, and clarity. As we know from our story in Malevolent so far, this meaning is not lost on us. I have chosen to keep this piece as F#M since that is how I originally began transcribing it. I have also attached the GbM version at the end of the post, however all the analysis follows F#M spelling.

The lone piano begins on the third of our I chord with a hesitant, heavily rubato 8th note pickup into measure 1. The transition from measure to measure in this first phrase gains little confidence, especially with the transition from the pickup into m. 1 as this is the only instance in the piece where the set of 8th notes in the left hand do not lend itself into the next right hand pickup (four 8th notes instead of five). Each lead-in to the downbeat is stretched, pedal held throughout the measure to allow the sound to linger. Each press of the keys is deliberate, yet maintains a mezzo dynamic as the sound fades. m.2 is introduced with a vi chord, creating a hint of unease before resolving in m.3 to a IV(add7). We end our first phrase with a half cadence to a V chord, leading into a V7 as our next phrase begins with a B. 

As we enter our second phrase it is similar to our first with  m.5 beginning with a I chord, m.6 expands our vi chord compared to its first iteration, resulting in a more confident feel as we continue into m.7 with yet another expansion to our IV(add7). M.8 ends this phrase as we reach another half cadence V chord almost V7. 

Beginning m.9 the piece has a few possible paths of analysis, we arrive on a vi chord if we are remaining in F#M, which unlike our other initial starting phrases this throws us into a melancholic mood. There is a possibility of modulation to the relative minor (D#m), however I believe it remains in F#M and utilizes inversions of our chords and will continue with this assumption for the next phrase.

Remaining in F#M, m.10 could be a vi(4/2) inversion, or a I(6/4) inversion. Because Measure 11 moves to a ii chord, I believe it makes more harmonic sense for m.10 to be a vi(4/2) inversion as moving from a I(6/4) - ii is less common than a vi(6/4) to a ii. 

M.11 into m.12 is a fascinating progression. We have a V with the (g) in m.11, then we are descending to a Dnat, A#, E# progression. The Dnat is what has thrown me off the most, as it is a minor chord of sorts but doesn’t exist within our key of F#M, or relative D#m. The E# A# progression I believe is a I(4/2) chord, as it is leading us back into the next phrase. Even spelling enharmonically as a A#, Cx, E# chord it does not naturally occur within our existing key. After many hours of checking theory textbooks, writing out possible modulations, and playthroughs of the chords, I’m choosing to leave this as a V-I(4/2) progression and accepting my loss that I do not know what chord exists in the downbeat of m.12. However, I can say that resolving to something that is not a root tonic further creates this sense of melancholy.

Bringing us to our next phrase at m.13, similar to our previous phrase a vi chord but instead of resolving to an A# it resolves to the root D#. M.14 is identical to m.10 with the exception of the lower octave A#3 before resolving in m.15 to a ii chord until the fourth beat of the measure which leads us into measure 16 - resolving to a IV-V half cadence by the end of the measure. 

Reaching m.18 we are returning to our original phrase. This is where our cello enters for the duet, in which I have some observations about musicality first. As the piano is using a significant amount of pedal to sustain the sound, the cello utilizes a wide vibrato to create a warm sound. Notably, this doesn’t occur as significantly when entering with the lower notes. The cello is confident, encouraging the piano forward and maintaining a solid momentum even with the hesitance the piano has shown. 

M.18 we begin on a I chord, supported by the cello playing a low F# as the root. In the pause between phrases, it's as if you can feel the performers breathing together before they move to m.19, our vi(add7) chord. 

Measure 20 I have quite a bit to talk about. Stacked chord analysis is not my forte (pun intended). From what I could hear, there is a B1, F#2, B2, F#3 in the cello, while the piano continues with a IV(add7) chord. B1 is impossible to play on a cello with traditional tuning, in order to achieve this note they would have to tune their lowest string - their C string - down a half step. The chord B1/F#2/B2/F#3 is also impossible to play on a single instrument. If one cello tuned their C down to a B, then they could feasibly play the bottom chord, possibly the two B’s in octaves. It is possible for a cellist to play an F#/B/F# chord, however it would be uncomfortable and not result in a good tonality with it being a triple stop - but, the second cello could split the chord and play a different combination (F#2,B2 or B2,F#) with success. Other solutions to this could be having a double bass play the pedal B, as it would be within their ability on and remain in the correct octave, or having the piano cover the pedal B. This massive chord then resolves simply to a half cadence V chord in measure 21. 

Entering our last section, m.22, we return to a phrase similar to the beginning, with a confident I chord. With each measure we go to a more traditional chord progression to a V-IV-V in measures 23, 24, and 25 respectively. In an exciting turn of events, we land on a I chord in our final measure. The first PAC in the entire piece, and yet, it doesn’t sound as if the piece is finished. Throughout its entirety, all the phrases have been a form of inauthentic cadence. We end on a Perfect Authentic Cadence, a V-I, it should sound resolved. And yet, it continues on. The notes ring, and if left on repeat (as I have done for this analysis), it makes sense for it to continue. 

In conclusion, I believe this duet is in an general AABBAA format, with A being Major key tonality and B encompassing a minor key tonality. This piece is a conversation, it’s full of emotion and hesitance and is a fantastic representation of everything we’ve seen Arthur and John go through so far in the podcast. I can’t help but think of “I’ve come so far…and I have miles to go before I sleep” with this piece as a reflection of that. This composition is saying “Look, see how far we’ve come, what we’ve done to get here. How we’ve changed and grown.” All this to say, it’s an amazing story and an amazing composition. If you made it this far, I’m glad you came along in this musical journey with me and feel free to add anything I may have missed (or possibly mistaken). 

[idle-compy]

kenji angst to weezer? its more likely than you think

[raccoonstickses]

[supernaturallyliterate]

I noticed something big about TTPD. I think that it connects to Taylor’s plans for The Eras Tour, the Yellow Brick Road / possible coming out journey, and the New Romantics / Mass Coming Out theory.

If you’re not interested in that type of content, please keep scrolling. But if you’re down to clown and theorize, come on a little adventure with me. 😉

I noticed it first with the song “Chloe or Sam or Sophia or Marcus”, so that’s where I’ll start in this analysis.

I think that this song is Taylor telling both Swifties / Hetlors and Gaylors that she is tired of all the expectations and obsession with her sexuality and love life (again). She’s been walking a fine line, Easter egging for both Hetlors and Gaylors for so long. She frames it as a lose-lose situation.

DEEP DIVE ON THE LYRICS:

Your hologram stumbled into my apartment

Hands in the hair of somebody in darkness named Chloe or Sam or Sophia or Marcus

And I just watched it happen

I haven’t quite figured out the first few lines. Hologram suggests that the person who arrives isn’t real, or isn’t really there. This could be a reference to “Is that your key in the door?” from Hits Different.

First, it’s been noted before, but the switching between female and gender neutral and male names. This suggests not only multiple muses, but also multiple interpretations. And, of course the queerness of the speaker, which is assumed to be Taylor Swift.

As the decade would play us for fools

It’s been ten years since kissgate. I think when Kaylor first got together and schemed about this coming out plan, they never thought it would take ten years to come to fruition.

And you saw my bones out with somebody new

Who seemed like he would've bullied you in school

And you just watched it happen

First, “my bones” is referring to her body. For her body (pun intended) to be bones, she would have to be dead, and been dead a long time. The death of Taylor Swift. This could be referring to how she was dying inside from the closeting. Her true self was unfulfilled. It could also be referring to the beginning of the death of Taylor the Brand.

“Somebody” is still gender neutral, keeping with the ambiguity of the muse’s gender.

Yet the next line has he/him pronouns. Bearding. Taylor is bearding with a football player. We’ve seen football players bully a gay boy in the Taylorverse before.

If you want to break my cold, cold heart

Just say, 'I loved you the way that you were'

If you want to tear my world apart

Just say you've always wondered

I think the first two lines are for the Hetlors. This would be their reaction to her coming out— “I loved you [your music, etc] when you were straight.” This has Cold as You implications. To the Hetlors, she would be “cold-hearted” snake who was deceiving them by pretending to be straight when she was queer the whole time.

The second two lines are for the Gaylors. I interpret “always wondered” to be about wondering and speculating about Taylor’s sexuality, with possible ties to “Wonderland”. And the first part about breaking her world—that’s what would happen if she came out as queer. Not only would her brand and public world be broken, i.e. never the same, fractured, skewed, etc. The public “betrayal” and all that toxic shit. But also, her private world would be broken and shattered. The lavender haze she and her love created, their secret moments (even if in a crowded room), their coded language, etc would all be revealed. They wouldn’t be able to hide in their own little world anymore. (Also thinking about this in terms of “escaping to a planet where they could all understand it.”)

You said some things that I can't unabsorb

You turned me into an idea of sorts

You needed me but you needed drugs more

The media, the fans, etc have said things about Taylor that stay with her. That impact her deeply. We (and yes, I’m including myself in that) have turned Taylor the person into Taylor the Brand and Taylor the Anti-Hero, etc. All these different versions of her that aren’t truly representative of her true self.

I interpret the “you needed me” as “you needed me the person” and “you needed drugs more” as the addictiveness of Easter eggs, theories, fandom, media consumption, the need for “MORE” from Taylor. (Yes that’s a callback to ICDIWABH.)

And I couldn't watch it happen

And she couldn’t do it anymore. She needed it to end. But how do you break something so carefully crafted? By carefully deconstructing it like a mastermind chess playing badass and then smashing it with a hammer and setting the whole thing on fire.

I changed into goddesses, villains and fools

Changed plans and lovers and outfits and rules

This section reminds me of Mirrorball—she changed herself into different eras and personalities. She’s been a saint and a sinner. The villain reference is very reputation coded.

She changed plans after the Masters Heist and failed coming out during Lover.

Changing lovers refers to “switching out these Kens”, her PR boyfriends.

It also reminds me of Mastermind the game, how she constantly changed her outfits and the rules for her outfits to keep people on their toes.

All to outrun my desertion of you

And you just watched it

She literally said. I’m leaving you. But I don’t want to leave you, so I’ve been dragging it out as long as I can. But I can’t run from it.

And oh, by the way, you just watched it. You just witnessed it unfold. The duplicate meanings of this line!! “You just watched it.” the heartbreak of “you saw it happening and you didn’t do anything to stop it.” And “just” as a way to tell time—you just watched it, recently. And we’ve all been watching The Eras Tour for two years (well, 1 year 8 months, as she pointed out in her speech). And it just finished.

If the glint in my eye traced the depths of your sigh

Down that passage in time

Back to the moment I crashed into you

Like so many wrecks do

Too impaired by my youth

To know what to do

So if I sell my apartment

And you have some kids with an internet starlet

Will that make your memory fade from this scarlet maroon

like it never happened

This section is so Karlie coded. They met when they were super young, in 2008. And Taylor was too young to know what to do, how to navigate being a famous person and wanting to have this queer relationship. She had to figure out if she wanted to come out or stay closeted. And she didn’t know how it would go, how it could impact their relationship.

I won’t go too in depth but the having kids line refers to her marriage and family. And Maroon the song is 100000% a Kaylor song, so she’s drawing that direct parallel here.

Could it be enough to just float in your orbit

Could it be enough to stay in this lavender haze? Could it be enough to stay in our own little world, circling each other and not caring about the rest of the universe?

Can we watch our phantoms like watching wild horses

Ghosts of their past selves, when Kaylor was more open publicly? Like kissgate. But also I think about wild horses as beautiful, but easily spooked. If they know you’re watching, they’re going to run away. “I Know Places” and running from the hunters, the media, etc. So as soon as people started to notice and call attention to her queerness, she got spooked. She got scared, and she returned to the safety of the closet.

Cooler in theory but not if you force it

To be, it just didn't happen

I think these lines are her acknowledging that it is a nice to theorize about all these grand coming out plans, but it cannot and should not be forced on her and her lover by anyone—the public, the fans (hetlors and Gaylors), etc. “It just didnt happen” refers to the times she didn’t publicly come out. It could also be a reference to a Kaylor split (real or perceived) and Karlie’s wedding (which was referenced a few lines above).

And we get a repeat of the chorus, a reemphasizing of the impossible and unrealistic expectations on Taylor, and a transition to the end of the song, where she asks us a question.

If you want to break my cold, cold heart

Just say, 'I loved you the way that you were'

If you want to tear my world apart

Just say you've always wondered

Cause I wonder

Will I always

Will I always wonder?

Will I always be in the closet? Will I always wonder about what it would be like to come out? To be free?

[starflungwaddledee]

she's normal!

(tags were by @the-void-is-a-disappointment on this post)

[nerd6log]

So you know when a UK sit com goes down well and then they try to make a US version of it (Ghosts, Red Dwarf, Inbetweeners, etc kind of thing)

What if the UK did this kind of thing and we suddenly had like Tom Felton as Howard Wolowitz or Simon Bird as Sheldon Cooper that would be mad

[paintsplash1712]

From the little that's been revealed and with the new theories surrounding the Agatha finale I honestly can't wait for Vision Quest!

Especially with Ultron "returning" this could be a great identity story that could also talk about generational trauma.

Ultron as the devil on Vision's shoulder, acting like a father when he's really more of a controlling abuser, and Vision learning through Tommy how to become a better person then what everyone expects of him (from the general public and SWORD) and learning to be a good dad to his kinda son in the process!

This series writes itself!

[wikitpowers]

everyday i come on here and cry over kitty🥹💔

[genderkoolaid]

i think "nonbinary" can be useful but a lot of times the way it is being used isn't helpful to actually discussing nonbinary people, especially since it is a HUGE umbrella term with very few boundaries. like there are nonbinary men & women, so positioning "nonbinary" as something intrinsically separate from man/woman isn't accurate. or there are times where it would be more useful to name the specific group (like multigender people, androgynes, abinary/aphorians) rather than a much vaguer term

in general the problem is that our language to describe nonbinary existence is basically some scraps held together with duct tape. there's sooo many ways in which nonbinary people are erased or binaried through language. not just through the lack of gender neutral options but the la of blatantly genderqueer ones.

i kinda feel like as of right now, nonbinary-ness is pretty slapdash & all over the place and it would be helpful to have a large-scale discussion on what terminology would be best for discussing things like exorsexism and it's various aspects, and how to talk about nonbinary people without homogenizing us, while ALSO acknowledging the need for umbrella terms that can cover a range of individual identities, even if people don't personally identify with the umbrella term itself. & on that note we should also probably discuss the issue of. like. perfectionism wrt nonbinary language & the way that potentially useful terms get lost bc of it. I don't think nonbinary people can really achieve meaningful equality and inclusion on the same level until we are able to have equally diverse and useful ways of describing ourselves, and a stronger understanding of how we relate to each other as a community.

[umblrspectrum]

hello that one person in my askbox asking my about my opinion on cyn. I think this should answer your question.

[mikaikaika]

Guys do you think the QSMP is pulling a Truman Show and we are all part of the official audience narrative

Like simulation theory is still my best bet because Cucurucho had no reason to tell the truth to Cellbit. It could have easily lied to him and we wouldn't have known the difference. So taking that, the trailers, and the update account all into consideration it can be theorised that this is all a social experiment except instead of being a simulation it is being conducted infront of a live performance.

[oveliagirlhaditright]

Also, Yozora is the unreality (or, rather, fictional) version of Sora.

I was going to make an entire video explaining why I thought this... but that's probably not happening now, so. LOL. Might as well just say it here.

But this is why he can use Sora's Keyblade and why he has Sora's crown on his outfit... or more importantly: the scene at the end of Re:Mind where they're both saying KH1's opening at the same time.

And Rex actually wasn't entirely wrong when he confused Yozora for Sora. In a sense, Sora is Yozora, like Roxas is Sora.

But since Yozora is the fictional version of Sora, they (whoever made him, one could say?) got things about him "wrong." I.E. That's why he's not exactly like Sora.

He's the night sky to Sora's daytime sky.

But I do think Nomura might have been planning something like this for a long time, and that's why he had that quote all those years ago about why he named Noctis Yozora and Sora as opposites and that it was meaningful why he did so, or whatever the exact quote was.

And why Versus XIII also had all those questions about reality, too. Like that one tagline about, "The hero trapped in the fantasy," (once again, those might not be the exact words--it's been a long time since I've looked into Versus stuff--but it was something like that).

Also, now that I'm into The Legend of Zelda, think of this as something like Link and Ravio and Zelda and Hilda from "A Link Between Worlds" stuff if you know that game at all. (Though I came up with this theory, that I swear is right, before knowing this game. But getting into LoZ, and then becoming a fan of this game in particular, reinforced the idea for me of how it's all probably working.)

This also probably explains stuff to do with Yozora's true appearance--like, maybe he usually looks like Sora or quite a bit like him?--but I haven't exactly hammered that one out yet. And maybe why he was willing to save Sora in the one Re:Mind ending, if he knew of their connection?

And a Yozora who hasn't lost his heart, or whatever, is probably more like Sora or FFXV Noctis.

[roeiswriting]

The prospect of a coming out storyline on one of the most popular shows currently airing on television where a firefighter in his 30s discovers his sexuality is so incredibly important.

Now this is all just a theory as of now, from glimpses into episodes from stills and interviews with Oliver, but the prospect of Buck being queer and this being a season of discovery and self reflection for Buck is a beautiful idea.

A story I always remember from when I was around 13 is how some of my family would speak about a family member of mine, about how they came out in their thirties, and that they had “lied and deceived” them all for years. There was so much negative talk about them coming out at what the family had deemed was “too late” which I always thought was bullshit. I could never understand how they somehow were obvious to how difficult it was for a young person with very strict and arguably “traditional” parents growing up in the 80s/90s to accept that part of themself and feel safe to share it.

I grew up in the 2000s, when this family member was already out and had been for some time. I got a lot of shit from a close member of my family for “coming out too young” being “too young to know”. Years of them simply ignoring the fact I knew who I was, telling people around us that I was “confused” and I “didn’t know” who I was. But for me growing up with that queer member of my family I didn’t really ever have a heteronormative idea of life. I always just thought I’d grow up to love whoever, gender was never even a factor. They were really great to have around when I was a kid, them and their partner would look after me from time to time and it was great. I admire their strength and ability to overcome this stigma to live their life with their partner to the absolute fullest.

For Buck to go on this journey, to open up a part of himself which he may simply have never thought of before or knew existed is telling the story of so many people, people who are often not seen on television. Things that should be normal in our society but on reflection when do we see these story’s that reflect these people actually on television. A story that could make it easier on so many people.

If there is anything I could promise to anyone who isn’t in a space where they can come out, or hopes in the future they may be able to, it would be this.

There is not an age limit on coming out to those that you love and trust. There is no requirement to come out at all. All that you should ever do is live your life to the fullest loving who you are and loving who your heart skips a beat for every time you catch their eye.

Television mirrors our lives, it gives people hope and strength and an understanding that you are not alone in this. That is why it is something people hold on to, and whether this happens or not the idea itself is a great one.

[gay-crappost]

The new TUA episodes with the sentence long descriptions and omg. I am so pumped for the last season and I can already tell I’m going to be devastated that one of my favorite shows will be ending. But the thing I’m questioning most is the first episode, the unbearable tragedy of getting what you want, and it talks about a birthday party.

Obviously in the trailer it shows Diego and Lila at a birthday party probably for their child is what I was thinking, but what would be the tragedy of having their family? I’m also wondering if the title is referencing towards Alison and how she got what she wanted, Claire and Ray back, and maybe there is going to be a switch that is going to make her realize this isn’t what she wanted.

Is Alison going to start her redemption in the first episode and maybe she will try and find her family because this world isn’t really what she wanted.

But all in all I think it may be hard to fully redeem Alison after what she did to Luther because no matter how far your life has gone down it does not excuse SA. But I’m really excited to see how it all plays out and this final season I hope will bring everything together.