
That ‘We Were Liars' Plot Twist Leaves a Major Question Unanswered
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Spoilers below.
In an addendum published in the deluxe edition of E. Lockhart's 2014 bestseller We Were Liars, the author mentions The Sixth Sense as one of several inspirations for the memory loss that protagonist Cadence Sinclair endures throughout Lockhart's story. As it turns out: Cady does, indeed, see dead people.
This revelation will come as little surprise to fans of the book. The plot twist is exactly what propelled We Were Liars to infamy amongst readers, especially BookTok acolytes, who pushed the title back onto the bestseller list during the pandemic. But for those watching the new Prime Video adaptation without this context, the finale is likely to land much harder.
Episode 10, 'My Friends Are Lying in the Sun,' at last pulls the curtain away to reveal a horrible truth: There's a simple reason the Liars—Gat, Johnny, and Mirren—didn't call Cadence for months after the events of so-called Summer 16. They weren't alive to do so.
Short answer: As Johnny later puts it, the Liars 'really didn't know how to do arson.'
Long answer: By the end of the Summer 16 timeline, the Liars have uncovered enough family secrets, backstabs, and betrayals to convince them they can no longer willingly participate in the Sinclair legacy. They decide they want to make a statement. They want to prove the family's obsession with inheritance is fickle, cruel, and unjustified. They want to, literally, burn it all down.
They decide to set Clairmont—the main house on Beechwood Island—ablaze. (It's worth mentioning that they are also a little drunk.) As they wipe the wood floors with gasoline and craft Molotov cocktails on the gleaming marble countertops, they execute a reckless plan. Gat takes up his position at the boat station. Mirren turns her mother's bedroom into a tinderbox, while Johnny tackles the attic and Cadence the downstairs. At midnight, they strike their matches, but both Johnny and Mirren get distracted: Johnny by a picture of their grandfather, Harris, and Mirren by a painting in her mother's bedroom. By the time they attempt to run out of their rooms, the smoke has become too thick for them to see where they're going.
Meanwhile, Cady successfully escapes the house, only to go charging back when she hears her family's golden retrievers whining from inside. The Liars have forgotten that Cady's mother locked the dogs in Clairmont to keep them calm during the evening's planned fireworks. By the time Cady reaches the goldens, everything around her is burning. A falling wooden beam smacks her across the head—likely causing the injury that will trigger her memory loss—and she can only listen to the dogs' cries as they succumb to the smoke. (If I can go through life without ever having to watch a scene like this again, I'll be thankful.)
The loss of the dogs is horror enough on its own. It's an unspeakable, avoidable mistake, a terrible act of negligence and a betrayal of the animals' trust and innocence. Remembering this tragedy in the Summer 17 timeline, Cady is overcome with grief, sobbing as the Liars hold her close. But it doesn't take her long to recall the rest, and somehow, it's worse.
Not only did Cady forget to let the dogs out, but she wasted precious time stealing her grandmother's black pearls from Clairmont's clutches. Doing so means Gat doesn't see her when he comes sprinting inside the building, desperate to save his would-be step-cousins. Soon, Gat, Johnny, and Mirren are all trapped inside the smoke and fire, while Cady runs out onto the beach. 'We didn't even think about the gas line,' the ghost version of Gat says in the Summer 17 timeline. And so we watch in flashbacks as the house blows up, and the force of the explosion knocks Cady back into the ocean, likely compounding her brain injury and the resulting amnesia. Gat, Johnny, and Mirren all die in the blast.
They are definitely not flesh-and-blood humans, but—as Johnny makes clear—neither are they figments of Cady's imagination. They seem to be ghosts, 'haunting' Cady because she is not yet at peace with their deaths, and neither are they. No one but her seems capable of seeing these spirit-Liars (at least until the final scene, when we learn Johnny appears before his mother, Carrie).
Cady interacts with each Liar once more after learning their fates: with Johnny, who admits his own fear of hell but believes Cady will spend the rest of her life doing good things to earn a tier in heaven; with Mirren, who wishes they would have 'let themselves be messy sometimes' so that they 'actually could have seen each other'; and with Gat, who isn't sure if he's 'real' but knows he loves her still. The ghosts only finally disappear after all four Liars jump off the dock together one last time.
Cady's grandfather, Harris, has eyed Cady as the next heir of the Sinclair empire. When she rejects his gift—her grandmother's black pearls—she thereby rejects his symbolic passing of the baton. Harris decides, then, to threaten her.
He reveals that a Time reporter will soon arrive on the island to interview him about his legacy. If Cady does not accept her place in the Sinclair family tree, Harris claims he will tell the journalist what he knows about what happened that fateful night in Summer 16. Cady's relatives believe she was a tragic heroine, the sole survivor who attempted to save her cousins from a terrible (accidental) fire. Harris knows the truth: The 'arson, animal cruelty, and involuntary manslaughter' will characterize the rest of her life, should it become known to her family, her friends, and the general public. 'When the reporter comes on Saturday, you keep that in mind,' he tells her.
But after bidding the ghost-Liars goodbye, Cady doesn't seem to care what comes next. When the reporter eventually asks for her take on the Sinclair story, Cady says she's 'just really not into fairytales anymore,' and runs off to steal her family's boat and flee the island. Her mother and aunts watch from afar, proud to see her breaking free.
We Were Liars ends its first-season run not with a scene between Cady and her Liars but between Aunt Carrie and the ghost of her son, Johnny. As Carrie prepares to leave Beechwood at the end of the summer, she walks back inside her kitchen, only to find Johnny—or, rather, his presence—waiting for her. When she says she'd thought he'd 'left' by now, he replies, 'I don't think I can.' The screen then cuts to black.
That leaves one major question unanswered. Forget whether or not the Liars are 'ghosts' or 'spirits' or hallucinations. We know they're dead. But if one of them 'can't leave' Beechwood, does that mean he's stuck forever? And if Johnny is stuck, are the other Liars stuck, too? With Cadence gone, can they 'pass on' without her? Or will Carrie take up the mantle as their sole witness?
Such a cliffhanger is certainly set up as a lead-in for a potential We Were Liars season 2, which could draw material from Lockhart's prequel novel, Family of Liars. (That book indeed centers Carrie and her sisters as teenagers on Beechwood.) Still, there's no guarantee yet whether Prime Video will end up renewing the series. For now, Johnny will just have to wait.
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The result is a cozy escape that reminds us every wish carries its own shadow—and that sometimes the happiest ending is finding the people who understand yours.'—Moriel Mizrahi Finder, editorial assistant $17.67 at June 24. 'Pitched as Love Island meets Lord of the Flies—which, woof, that's enough of a heady concoction to draw in readers already—Aisling Rawle's debut is an intoxicating literary suspense. It takes place on the set of a reality dating competition—filmed in a desert compound sometime in a dystopian future—in which an uneven number of male and female contestants must compete to spend each night with someone of the opposite sex. Along the way, they must complete tasks and competitions for rewards. Some are relatively harmless ('Wear another girl's clothes without asking'), while others ('Banish a couple from the compound') veer darker. At the center of this game is Lily, who is young, beautiful, and content to do whatever it takes to win. A slow-burning but scathing assessment of consumerism, vanity, and our deep-rooted desires to perform.'—LPP $20.30 at July 1. 'I'm a long-time reader of Maris Kreizman's work at Literary Hub and beyond, so it was a pleasure to get her takes on issues that have less to do with publishing in particular and more to do with America writ large. I zipped through I Want to Burn This Place Down, her new book of essays, impressed by how much ground Kreizman manages to cover in such a slim volume. Although these pieces are far from comprehensive—nor do they claim to be—they effectively critique many of the liberal beliefs she once accepted without challenge. (These beliefs included, among others, that labor organizing is 'impractical' and that cops are uniformly heroic.) Kreizman chronicles her own identity shift from 'good Democrat' to a more enlightened one, doing so with humor and a righteous anger that feels present on the page. Charged yet earnest, I Want to Burn This Place Down makes the reader feel Kreizman's rightful frustrations as their own.'—LPP $25.10 at July 1. 'A mixed-media satire told with style and verve, Hot Girls with Balls has a lot going for it beyond its instantly iconic title. The narrative will inevitably draw comparisons to Luca Guadagnino's Challengers, but with volleyballs instead of tennis rackets, a much heavier dose of internet culture, and two Asian American trans women at its heart. Six and Green are twenty-something volleyball players and influencers; they're also dating. Their social media fame grows with every Instagraph Live they broadcast during the COVIS pandemic, and as they compete in an indoor men's volleyball competition (thanks to transphobia), they're keen to capitalize on the attention. But when they speak up on behalf of the trans community, the results online are fickle at best—and hateful at worst. Benedict Nguyễn's sharp, funny-yet-serious debut explores the constant pressure to present identity 'correctly,' especially when that identity is under equally constant threat.'—LPP $25.11 at July 8. 'When I read Library Journal describe Sarah MacLean's These Summer Storms as 'the steamy love-child of Succession and Elin Hilderbrand,' I knew I needed to bump it to the top of my pile of beach reads. And, indeed, These Summer Storms fits that description well, particularly as the Storm family reunites on a private island off the coast of Rhode Island in the wake of their patriarch's death. There, they discover technology tycoon Franklin Storm has left his widow and children 'a game, of sorts': Remain on the island together for a full week, complete the challenges he has assigned to them, or forfeit their inheritance. This conundrum is further exacerbated by the presence of Jack Dean, Franklin's right-hand man, with whom protagonist Alice Storm has recently shared a one-night stand. Simmering tensions, sibling rivalries, and undeniable attraction fuel McLean's excellent foray into contemporary romance-slash-drama. This one's a treat.'—LPP $30.00 at July 8. 'A Marriage at Sea was such an emotionally vivid portrait of a couple in isolation that I was shocked it wasn't fiction. How could a writer get so deeply into the minds of two real people in such extraordinary circumstances? Elmhirst's incredible account traces the story of Maurice and Maralyn Bailey, a 1960s couple who set off from Britain for an around-the-world sail to New Zealand but become stranded after a whale hits their boat. Their harrowing period lost at sea is so brilliantly depicted that it's almost too painful to read.'—AG $28.00 at July 8.'When Sophie, a newspaper writer, goes to the Edinburgh Festival Fringe for work, she sees it as a nice break from the tedium of parenthood and home. Instead, she gets a front-row seat to her celebrated male colleague's complete implosion. After he gives a scathing review to the show of a woman he had just slept with, he inspires a wildly popular one-woman show that exposes years of terrible behavior and drags Sophie into the middle of the mayhem. Bring the House Down considers what role theater can have in a community with more humor that you'd think was possible.'—AG $28.00 at July 8. 'This romantasy-comedy made me laugh out loud on almost every single page. A deadly assassin is forced to seek help from a brilliant female healer, and, of course—in a classic enemies-to-lovers story—they hate each other at first glance. The humor is delightfully ridiculous, and the banter is so good, it will have you whipping your head back and forth between the two main characters as if you're watching a tennis match. Technically, Brigitte Knightley is a first-time author. (But fanfiction readers will recognize, 'Tell your cat I said pspspspsps.') I can't wait to read more of her books.'—Kathleen Hou, beauty director $21.00 at July 8. 'Giuseppina 'Jess' Capodimonte Baratta lives in Lake Como—but probably not the one you're thinking of. Adriana Trigiani's heroine is stuck in Lake Como, New Jersey, her childhood home, where she's fled after a recent divorce. When her uncle unexpectedly dies, she inherits his marble business—Jess herself is a skilled draftswoman—and, along with it, a heap of legal and financial troubles. She flies to Carrara, Italy, to uncover the family secrets and ancestral skills she'll need to face this new, uncertain future. But with each day spent in Carrara, in Milan, and, of course, along Lake Como, Italy pulls Jess deeper into its magic, and she starts to find herself wanting something, wanting more. Effervescent and big-hearted, The View from Lake Como is an ideal vacation read.'—LPP $26.00 at July 15. 'My first Silvia Moreno-Garcia read was 2015's Signal to Noise, and since then I've paid close attention to her genre-mixing body of work. The Mexican Gothic author's latest is the horror-fantasy The Bewitching, a book that's both eerie and entrancing in equal measure. Set across three timelines—1990s Massachusetts, 1930s Massachusetts, and 1900s Mexico—the story joins three women whose lives are touched by sorcery. While studying the work of 20th-century horror novelist Beatrice Tremblay, grad student Minerva starts to experience strange happenings around her college campus. Her great-grandmother, Alba, used to tell tales of witches, and Minerva begins to wonder if witchcraft is responsible for these events. As the three women's stories join together, Moreno-Garcia builds a compellingly rich saga of history, folklore, and hauntings.'—LPP $26.97 at July 15.'Hana's happy life as a Kentucky professor with a loving boyfriend is disturbed when she learns her ex-husband is publishing a fictionalized account of their marriage. If You Love It, Let It Kill You itself seems to be referencing the book that Pittard's own ex-husband wrote about the breakup of their marriage, but you'll sense little anger in what is ultimately a moving and very, very funny story.'—AG $26.09 at July 22. 'In Danica Nava's delightful sophomore romance novel, Love Is a War Song, Muscogee pop star Avery Fox has made an unfortunate stumble: After appearing on the cover of Rolling Stone in a feathered warbonnet (and not much else), she's earned the internet's ire and vitriol. The scandal sends her running to Oklahoma to stay with her estranged grandmother until the noise dies down. There, she meets Lucas Iron Eyes, the man who looks after her grandmother's horse ranch, and despite his disdain for her career, neither he nor Avery can deny their attraction. And as they're forced to work together, that attraction becomes harder and harder to ignore. I was a fan of Nava's The Truth According to Ember last year, and it's a joy to see her next rom-com picking up buzz.'—LPP $17.67 at July 22. 'A lot can be learned from even the smallest fragments of feathers—and we have Roxie Laybourne to thank for that. In 1960, Laybourne, a then unknown bird researcher working at the Smithsonian, was tapped to help investigate an airplane crash caused by a bird strike. With that assignment begins Laybourne's legacy as the world's first forensic ornithologist. She would go on to conduct instrumental work that would advance aircraft safety and help catch murderers, poachers, and even white supremacists, who tarred and feathered a Civil Rights activist. In The Feather Detective, award-winning journalist Chris Sweeney tells Laybourne's story in-depth, and in so doing, gives this tough, pioneering woman the credit and spotlight she deserves.'—Kayla Webley Adler, deputy editor and features director $30.00 at July 22. 'The titular walk into a bar ends badly. The unnamed narrator's husband is leaving her for a woman named Maggie. Only weeks later, she gets a diagnosis of breast cancer. The two heartbreaks are so linked that she names her tumor Maggie. Katie Yee's debut is filled with eerily real accounts of the crazy things we obsess on after a breakup, humor in disaster, and the salvation found in true friendships.'—AG $25.10 at July 29.'Emma Rosenblum has a knack for writing about the rich and catty. Her buzzy debut Bad Summer People is set in an exclusive beach community, while her sophomore novel, Very Bad Company, takes place at an executive retreat. In her third title, Mean Moms, Rosenblum once again takes readers inside a dishy, insular scene—this time, that of Manhattan private school moms. The plot centers on a trio of mothers—Frost, Morgan, and Belle—whose children all attend the same top-ranked private school. There's a gripping mystery that kicks off when a new mom infiltrates their clique, but as with all of Rosenblum's books, my favorite aspect is the smart, biting, and often hilarious, social commentary she weaves in throughout the suspenseful tale. With Mean Moms, Rosenblum once again proves she is a master of skewering the worlds she inhabits.'—KWA $28.99 at August 5.'Another juicy read from the author of Before We Were Innocent, this one is set in the drug-and-bubbly fueled world of Laurel Canyon of the early '70s. When Los Angeles newcomer Lane Warren, a journalist working on her first novel, meets Hollywood native Gala Margolis at a party, they forge a complicated bond. Wild child Gala helps make Lane a social star, while coolheaded Lane urges Gala to pursue her own writing talents—to a point. In a time when few creative women reach the top of their field, friendship perhaps inevitably turns to rivalry. Touching on themes of ambition, ambivalent motherhood, and life in the L.A. fishbowl, Berman's novel is ultimately about the importance of owning your own story—and the possibility of rewriting it.'—Sara Austin, executive editor $30.00 at August 5. 'Be warned: Moderation is far from your typical effortless beach read. Elaine Castillo's novel is as expansive as the VR landscape her protagonist, Girlie Delmundo, must navigate after she's hired for a new content moderator position. As a social media moderator capable of stomaching the alarmingly graphic material thrust in her face each day, Girlie soon adapts to Playground, her company's latest VR acquisition. But her feelings for her new boss, William Cheung, as well as the mysteries surrounding Playground itself, threaten to eat away at Girlie's careful boundaries. A love story for those who love Severance (both Ling Ma's book and the unaffiliated Apple TV+ series), Moderation is ambitious, challenging, and brilliant.'—LPP $29.00 at August 12. 'Neruda on the Park author Cleyvis Natera returns later this summer with the searing The Grand Paloma Resort, a novel set amongst the staff of a luxury hotel in the Dominican Republic. When a looming category-five hurricane, the case of two missing girls, and the ever-present inequalities of race and class collide over the course of one seven-day stay, the guests and the staff—including sisters Laura and Elena—can no longer maintain their unsteady equilibrium. The White Lotus ought to look to Natera's clear-eyed literary thriller for inspiration.'—LPP $30.00 at August 26. 'One of my most-anticipated reads at the start of 2025, Katabasis is R.F. Kuang's triumphant return to fantasy after her 2023 publishing satire Yellowface. The author of The Poppy War trilogy and Babel, Kuang is of course no stranger to fantasy, and Katabasis features perhaps her most unorthodox approach to magic yet. On its surface, the book's setup seems straightforward: A Cambridge student and her rival must journey to the underworld to save their professor. But the challenges they encounter throughout their romp through Hell have as much to do with their feelings for each other, their insecurities about themselves, and their mislaid trust in Cambridge as they do with the dangers of Hell itself. Laced with Kuang's signature critiques of colonialism and academia, Katabasis is also a love story, and an ultimately stunning one at that.'—LPP $24.50 at You Might Also Like The 15 Best Organic And Clean Shampoos For Any And All Hair Types 100 Gifts That Are $50 Or Under (And Look Way More Expensive Than They Actually Are)
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'We Were Liars': Esther McGregor breaks down 'bravest' and 'difficult' scenes with Candice King, Emily Alyn Lind
The most popular show on Prime Video, We Were Liars, is bringing fans to tears with it's devastating and shocking finale. Starring Emily Alyn Lind, Mamie Gummer, Caitlin FitzGerald, Candice King, David Morse, Shubham Maheshwari, Esther McGregor, Joseph Zada and Rahul Kohli, the captivating drama has audiences hooked. We Were Liars really leans into its most emotional moments, with the cast really taking on every twist, turn and wounding moment with conviction. One of those moments that really stands out is between Mirren (Esther McGregor) and her mother Bess (Candice King), after Bess finds out her daughter saw her affair with "Salty Dan," a harbour service worker, and shared that information with The Liars. Specifically, Bess is angry her sister Penny (Caitlin Fitzgerald) has that information and is holding it over her head, preventing her from getting more money from her father to reconcile her debt. In Episode 5 Bess confronts Mirren, destroying all of Mirren's beautiful art. "You are not an artist. You are a dilettante and you're a child," Bess says. "I'm your child," Esther says in response. "I didn't ask for you to waste your life on me. And neither did the twins. You chose to be a mother. ... It's not our fault that you decided to hate it." "It was written very well, first of all, so it was easy to kind of get there," McGregor told Yahoo Canada. "I think that it is a lot of people's narratives to kind of feel shut out as a kid, especially if you've got a young mother, or whatever it is." "I've not necessarily [had that] with my mother, but I've dealt with similar stuff in terms of ... not feeling like I have a place. And I think the courage it takes to say that is really big. ... When she hurts me, ... she hurts my art, and she hurts my art that I made because I was so happy with The Liars, and that was my safe place. And when that fractures, that's big enough to break me. I think Mirren tries to keep it together quite a lot, especially towards her mother. So that was something really interesting ... and I think it's one of her bravest moments in the series. So it's lovely to find that, but really heartbreaking too." By the time we get to the last episode, we see a particularly close bond between Mirren and her cousin Cadence (Emily Alyn Lind), who's spent the season trying to figure out the circumstances of her injury during the summer of her 16th birthday. The conversation in Episode 8 starts with Mirren telling Cadence she wishes she had been kinder to The Littles, but Cadence says Mirren shouldn't have regret, she should be "light as air." Then Mirren starts talking about how she always wanted to be "excellent" at everything, that both she, and her mother, never let themselves me "messy." "I don't think anyone really saw me," Mirren says to Cadence as she starts sobbing. "And now no one ever will." "No, look at me," Cadence says in response. "The Liars saw you Mirren. And I'll see you for the rest of my life." "That moment, that's a difficult one," McGregor said. "It was interesting because that one was I think in the last week of us filming, I think we had like a few days left, so that goodbye felt very real and present." "She was such a guiding light for me, quite motherly towards me, which is really what I needed. Like even if I had my stomach ache, she would set me up with some saltine crackers and my medication. Emily's a very thoughtful person that's very attentive, and I think that definitely blended into our characters and our togetherness." But one satisfying part of the We Were Liars Season 1 ending is that Ed (Rahul Kohli) gets back together with Carrie (Mamie Gummer), after previously leaving following Ed's failed proposal. While Ed and Gat's (Shubham Maheshwari) bond as outsiders to the Sinclairs was compelling to watch, it was also interesting to see how Ed is so important to Carrie's kids, Johnny (Joseph Zada) and Will (Brady Droulis), but is still on the outside of the larger Sinclair family. "That dynamic, it's super relatable," Kohli said. "It's not too dissimilar to my current living circumstances." "I am obviously British born and I live in America, I've been there for 10 years, and some of the people I call my family I still, even at Thanksgiving or across the table, still don't feel 100 per cent a part of that. It's just something that comes with being a fish out of water." But in order for We Were Liars to bring the audience through the peaks and valleys in this thrilling story, the show needed directors who could take on the task. In this case, all five directors, Nzingha Stewart, Julie Plec, Tara Miele, So Yong Kim and Erica Dunton, brilliantly crafted their elements of this intertwining story. "[Nzingha Stewart], who did the very first episode, she set the tone," David Morse, who plays Sinclair family patriarch Harris, said. "She's really excellent with actors and taking time with us as we're discovering things. Especially in that first episode you feel so naked the first time you open your mouth as a character on that first day, and you'd like to know there's somebody there who's there to protect you and help you a little bit. And Nzingha was great with that. ... Towards the end, we had a really terrific director for those really challenging last two episodes. ... And I think we had the right directors at the right time."