5 of the best fan theories about how American Horror Story: Apocalypse will end

American Horror Story: Apocalypse is keeping fans guessing.

Every year, the hit anthology series provides twists and turns – and often red herrings – in abundance, so one of the most exciting parts of tuning in each week is trying to figure out what in fresh hell is going to happen next.

With a crossover between Coven and Murder House characters, the re-appearance of anti-christ Michael Langdon, and the end of the  world on their plate, the writing team at American Horror Story face their biggest challenge yet wrapping this season up.

Unsurprisingly, fans have more than a few theories on what will happen next, and we’ve rounded up just a few of the best below.

Mallory is related to Scáthach… somehow.

Many fan theories related to this season revolve around Billie Lourd’s meek-yet-powerful witch Mallory. Before the apocalypse happened, she was a student at Miss Robichaux’s Academy, where she exhibited skills far beyond those of her contemporaries, with Myrtle Snow even suggesting she could be the next supreme. So how does Scáthach come into this theory? Well, if you cast your minds back to season six (Roanoke), you’ll remember that Scáthach was the original supreme, and she also had an insatiable desire to have sex with hapless men. Could Mallory be one of her children? A slightly more out-there suggestions is that Mallory might actually be Scáthach. Or, more specifically, that Scáthach has possessed Mallory’s body. Remember when she told anti-christ Michael Langdon, “Sometimes I feel like there’s someone buried inside me, someone trying to claw their way out”? There was also a little Roanoke easter egg in episode five of Apocalypse, where Cordelia announced that Michael’s seven wonders trial would take place during the Blood Moon. Those who’ve watched season six will know that the Blood Moon is when the spirits haunting the farmhouse could cross over and murder the living.

Mallory is an angel… or something even more divine.

If the idea of Mallory being Scáthach’s descendant (or Scáthach herself) is too much of a stretch for you to believe, another popular theory is that she’s actually an angel. So far, she’s only used her magic for good – like resurrecting a deer or bringing flowers back to life – and during an encounter with anti-christ Michael Langdon in episode three of Apocalypse, Mallory unwittingly let her powers slip, and Michael looked scared. Let’s face it, if the anti-christ was worried by anyone, it’d be God, right? This theory also plays off the scene in which Mallory tells anti-christ Michael that she has “someone” inside of her. It wouldn’t be the first time an angel has appeared in the show, as back in season two (Asylum), viewers met the Angel of Death, played in a sweet-but-short appearance by fan favourite actress Frances Conroy. So, could Mallory be an angel in disguise? Some fans have even theorised that she’s actually the second coming of Christ…

The Murder House is the Sanctuary.

When anti-christ Michael Langdon arrived at Outpost 3, where our survivors had been waiting around 18 months for their rescue, he informed them of a so-called ‘Sanctuary’ which was protected from the horrors of the post-apocalyptic outside world (we’re talking cannibals and fatal levels of nuclear radiation here). Whether the Sanctuary actually exists is up for debate, but if it is real there’s every chance it could be season one’s Murder House. It’s where Michael was born, his family still live there (albeit as ghosts) and it just so happens to be built on a portal to hell. Convenient, right? Madison Montgomery and Behold Chablis have already visited the Murder House this season – with the long overdue return of Jessica Lange – so there’s every chance it could make another appearance.

Mallory will turn back time to stop the apocalypse happening.

As we mentioned before, the only time we’ve seen Mallory use her powers so far is for good (we’re going to ignore her fiery outburst towards Michael, as she was defending herself). Much was made of her ability to not only bring a deer back to life, but also revert it back to being a fawn, quite literally turning back time on the animal’s life. If she can do that to a living creature, can she do it to the whole world? If so, it would give Cordelia Goode and her coven of witches a chance to stop the apocalypse once and for all. It may be a reach, but stranger things have happened in the American Horror Story universe.

Emily and Timothy are Adam and Eve.

This is probably the least likely to have an impact on the finale of Apocalypse, but it’s an interesting theory nonetheless. Viewers were first introduced to Timothy Campbell as he was torn away from his family by The Cooperative and taken to Outpost 3, where he met Emily (who frustratingly doesn’t have a last name). Both were chosen to survive the apocalypse thanks to their exceptional DNA, rendering them prime candidates to continue the human race. In a move that shocked no one, the two became lovers, and eventually gave into temptation and defied the outpost’s ban on sexual intercourse (you can see where this is going). Other biblical teasers include the Apple computer that the pair stumble across, and the snake that Emily finds in her room. They may have died alongside most of the cast in episode three, but other characters were quickly brought back to life, so there’s still chance for Emily and Timothy to play a part in Michael’s downfall.

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Chelsea Manning shares photo after gender confirmation surgery

“After almost a decade of fighting — thru prison, the courts, a hunger strike, and thru the insurance company — I finally got surgery this week.”

Chelsea Manning has shared a photo after undergoing gender confirmation surgery over the weekend.

The American activist posted a picture to Twitter after her operation, alongside the caption: “After almost a decade of fighting – through prison, the courts, a hunger strike, and through the insurance company – I finally got surgery this week.”

In a follow-up tweet, she slammed Trump’s administration for trying to ‘define trans people out of existence’.

“Laws don’t determine our existence – *we* determine our existence – it’s our weapon, our shelter, our energy, our healer, our truth – we will keep moving forward – we will keep fighting – existence is *our* only law,” she passionately posted.

In 2010, Chelsea was arrested after she released more than 700,000 classified State Department secret military documents to WikiLeaks.

She was sentenced for violating the Espionage Act in August 2013, after the documents were shared online and with major news organisations.

During her seven years in prison, Manning attempted suicide twice, and had to spend time in confinement.

She was originally arrested as Bradley Manning, but publicly came out as a transgender woman in a statement from her attorney in 2013.

Last September she went on hunger strike after demanding gender confirmation treatment, and was eventually given her request by the Army.

“Now, freedom is something that I will again experience with friends and loved ones after nearly seven years of bars and cement, of periods of solitary confinement, and of my health care and autonomy restricted, including through routinely forced haircuts,” Manning said in a statement in May.

“I am forever grateful to the people who kept me alive, President Obama, my legal team, and countless supporters.”

Related: Chelsea Manning is finally released after seven years inside. 

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Proof We #WontBeErased in ‘Plot Points in Our Sexual Development’ Off-Broadway: REVIEW

Sexual psyches are built on formative experience. From playground games and adolescent fumblings to the many crossroads where cultural restrictions clamp down on our natural impulses. Queer people can spend whole lifetimes trying to wrestle free from gendered expectations, or cope with the shame of doing so.

Plot Points in Our Sexual Development, a new play by Miranda Rose Hall, opened off-Broadway tonight at a moment when dangerous legislation is attacking the legitimacy of trans lives. In a swift and affecting 60 minutes, Hall crafts a powerful demonstration of how hard we often must fight to queer our own identities in the context of oppressive social norms.

Theo (Jax Jackson) and Cecily (Marianne Rendón) are sharing pivotal moments in their sexual histories, seated at the outset and facing the intimate audience of Lincoln Center’s Claire Tow Theatre. As they alternate turns in the spotlight, we learn how they first discovered what genitals are and what they’re meant for, who has which ones and where they go, whom and what sort of contact boys and girls are supposed to like. Tucked inside each confession are insights as to how our culture indoctrinates, manipulates, and shames us about sex in ways both subtle and insidious.

Some of the cruelest, most cutting remarks come from other kids who do the work of spreading and enforcing social conditioning. Like the boy who told Theo (transmasculine now, presenting as a girl back then) that sex just wouldn’t “work” with them after he pressed his genitals to Theo’s and nothing happened. “I am literally in a literal closet,” Theo recalls. “I wanted to scream and rip him to shreds.”

Or take the teenage girl cousin who mounted Cecily at a sleepover and told her that what she needed to be cool was “a super hot boyfriend with a super hot cock” and rubbed up against her before pinching her thigh and telling her not to be a pervert. (“Kids are lunatics,” Cecily tells us.)

Jackson and Rendón deliver frank, heartfelt performances under Margot Bordelon’s crisp direction. As the two characters’ collective ‘plot points’ grow more mature, the production pivots them into conversation with each other from addressing the audience. We arrive at their relationship with the context of what made them who they are as sexual beings, a more intimate understanding than knowing how they met, though we get a bit of that too.

If the play’s dramatic conflict ultimately seems slight (Cecily and Theo are lovers trying to reconcile what they each want from sex), the depths plunged by Hall’s play present a bone-deep counterargument to the absurdity of legislating gender as binary or biological. It’s hard enough for each of us to live in our skin and connect with others, sifting through and blocking out what the culture demands from us in order to uncover what the hell we want ourselves. No government could never negate the natural human process of figuring out how to feel at home in our own bodies. Laws, or the lack of their protection, can certainly make doing so even more difficult. But we’ll always find our way back to ourselves.

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Follow Naveen Kumar on Twitter: @Mr_NaveenKumar
(photos: jeremy daniel)

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