Lying About Last Summer

Meg Travers deserves a medal for making Skye’s emotional whiplash feel like a masterclass in vocal performance. She oscillates between petulant denial—‘I didn’t even *like* Luisa!’—and raw, jagged panic with unsettling precision. The production is clean but intentionally claustrophobic, with subtle background hums (think distant traffic or muffled shouting) that blur the line between Skye’s mind and the outside world. My only quibble? The middle third sags slightly as Skye’s detective work drags, though Travers’ energy keeps it from flatlining. Wallman’s trickiest gamble pays off: the unreliability of *every* character, including Skye, makes the final act a gut punch. The twist isn’t just shocking—it’s *uncomfortable*, because it forces us to confront our own willingness to believe lies when they’re wrapped in pretty packages. That said, the resolution feels a tad rushed, as if Wallman was more interested in the puzzle than the people solving it. Still, if you crave audiobooks that linger like a bad dream, this one’s a standout—just don’t listen alone after dark.