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Listen. Remember. Comprehend.

Welcome to the relaxation study. This ten-cassette series will guide you towards relaxation, focus, and total body awareness. Listen to these guides with authorized headphones provided to you by the Institute’s security team.
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Welcome to TV Tropes. This page will give you an overview of the podcast Within the Wires and link to the various tropes associated with it.

Within the Wires is a serial Science Fiction podcast from Night Vale Presents, written by Welcome to Night Vale co-creator Jeffrey Cranor and Janina Matthewson. It takes the form of found audio from a strangely divergent world set after something called 'The Great Reckoning'. Each season is a different type of found audio, generally cassette tapes of various sorts.

Episodes are available on Youtube, iTunes, Libsyn and the Night Vale Presents website. Bonus episodes are available for subscribers to the show's Patreon page.

End Side A. [ding] [click]

The first season takes the form of instructional cassette tapes distributed to an inpatient of a research hospital called "The Institute". Over the course of these tapes, the Institute is revealed to be less than benign, the world strangely divergent from our own, and the cassettes very different from the Institute's standard-issue curriculum, particularly in the increasingly personalized way their Narrator (voiced by Matthewson) addresses the patient.

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The second season includes art museum audio guides for art exhibition during the 1970s in the same universe. These cassette tapes take place over the course of about 15 years, and are principally narrated by artist Roimata Mangakāhia (Rima Te Wiata) as she discusses the works of her peer, painter Claudia Atieno.

The third season is a political thriller set in Chicago in the 1950s and is told through the dictations of Michael Witten (Lee LeBreton), a high-ranking Society bureaucrat who becomes the target of a conspiracy by his peers.

A fourth season is planned for late summer 2019, but no details have been revealed yet.

In addition, Patreon subscribers receive episodes of a series called Black Box, which includes flight-recorder tapes from a cargo pilot (voiced by Cranor) carrying an unregistered passenger. Black Box episodes come out four times a year, on solstices and equinoxes.

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And now, Side B. [click]


Within The Wires Main Page, Side B: Tropes Exemplified in the Podcast:

  • Affably Evil: Michael Witten: loving spouse, supporter of labor rights and free speech, appreciator of the arts, and an occasionally bad-tempered, cutthroat Society loyalist politician.
    • According to the final reel Amy, the person behind the founding of The Institute.
  • All Issues Are Political Issues: Zigzagged in "Cassette 1: Tate Modern (1971)" when Mangakāhia dismisses art critic Alphra Bond as hypersensitive, imagining political subversiveness and incitement to war in works she reviewed.
    Mangakāhia: Bond believed all artists benefited from war and strife, as it gave them a more interesting story to tell. ...Of course the idea...is abhorrent and simplistic
    • But the painting "The Charcoal Dish," of which Mangakāhia is a fan and Bond the sole detractor, may genuinely be a subversive critique of the sinister One World Order of Wires, depicting innocent people happily served up from a giant dish-shaped building onto a laden picnic blanket, to be eaten by hidden monsters.
  • Allegory: Discussed in-universe. Claudia Atieno's painting "Still Life with Orchid" was meant to communicate the unknowable, cyclical nature of existence through Life/Death Juxtaposition: a living orchid with dead leaves and oranges with subtly rotting undersides. But much to her displeasure, most viewers read it as a fatalistic commentary on death's inevitability.
  • Alternate History: Small details revealing how the Alternate Universe of Wires became so different from our own are gradually parceled out over the Cassettes.
    • Season 1's "Cassette #3: Insomnia, Feet" provides clues that the story is set in the early Eighties, while "Cassette #5: Focus, Nose" reveals the point of historical divergence, when it was decided that nationalism, tribalism and familial loyalty were the root causes of war and violence, to be eliminated through drastic social engineering, in the aftermath of a catastrophic war in the early half of the twentieth century..
    • Season 2's "Cassette 1: Tate Modern (1971)" terms the Point of Divergence "The Great Reckoning" and implies that, compared to its mundane historical counterpart, it was comparatively brief, but exponentially more devastating on a worldwide level, which facilitated creation of the One World Order called "The Society" within a decade. Season 2, Episode 6 mentions "godlike explosions" that poisoned the air in the 1920s, which may point to nuclear warfare.
    • A Season 2 cassette mentions that George VI was the last king of the United Kingdom. In Real Life, he was crowned in 1936 and reigned until his death in 1952, suggesting that the UK still wasn't a part of The Society at the time.
    • Episode 2 of Season 3, dated August 13, 1953, mentions that the so-called Removal of Nations Act was passed the previous year and forced the British Empire to cede any imperial claims of Ireland (and probably the rest of the Empire as well).
    • In episode 5 of season 3, Michael mentions the then recent discovery of the structure of DNA by a woman at Cambridge the previous year, suggesting that in this timeline, Rosalind Franklin earned recognition for her work in the field while she was still alive.
  • Alternate Techline: In The '80s of Wires, Sony Walkman cassette players exist alongside unobtrusive, standard-issue abdominal "black box" cybernetic implants that monitor and manage vitals and store memories. Should someone need more direct surveillance, however, this implant will be replaced with a boxy proto-Tracking Chip so large and unwieldy it distends the abdomen.
  • Alternate Universe: The world of Wires is a False Utopia that divorces children from the concept of family, separating them from parents, and eliminating/repressing memories of siblings and childhood relationships at the age of ten.
  • Ambiguous Ending: Season 1's "Cassette #10: Horopito" will be sent to the cottage where Hester has sent Oleta, but we have no way of knowing if Oleta ever receives it (though between Side A and Side B, we hear sounds of the ocean, suggesting that she does), or if she will wait there for Hester. We are unsure if Hester will be able to successfully wipe the Institute's records, or if they will be able to track down Oleta again.
    • Potentially resolved in Season 2, Cassette #10: Karikari Contemporary Gallery (1986). Hester is the narrator of this tape, and she has returned to the cottage where Oleta was sent. Hester has a wife she lives with, and that they have Horopito #4, the painting she left for Oleta, but it's not stated if this actually is Oleta (as a successful escape would make her a wanted criminal, Hester's not going to leave evidence on a museum guide).
  • ...And That Little Girl Was Me: ZigZagged when "Cassette #1: Stress, Shoulders" Side B has its Narrator instructing the patient to imagine themself as a dragonfly handled by a little girl. While the metaphor would initially suggest that the Narrator is the girl grown up, Cassette #2 implies and Cassette #6 confirms that the girl is the patient.
  • Applicability: Discussed and Zigzagged in-universe, as Mangakāhia ostensibly allows for multiple interpretations of Claudia Atieno's paintings, even while explaining Atieno's intent and blatantly favoring certain readings herself. She frequently asks questions of the listener to underscore this contrast during her analyses:
    Mangakāhia: Do you agree? Have I implied that you should agree? Do you have free will?
    • Tellingly, a painting she gives listeners full leeway to interpret is one she seems mildly embarrassed to talk about: "Woman in Bath (1971)." She is the subject.
    Mangakāhia: Look at the painting, make your own judgments. I cannot say anything else.
  • Arc Symbol: The image of an insect getting its wings plucked off gets used in every season. The damselfly itself is the cover image of the podcast, seen above.
    • In season 1, it's part of the relaxation cassettes, and also part of the shared history between Hester and Oleta.
    • In season 2, it's in one of Claudia's paintings, "Child and Damselfly".
    • In season 3, it's how Michael describes the way Vishwathi, Karen, and Amy have apparently ruined him.
  • Arc Words: Or rather, "Arc Sounds"; throughout tapes of season 1, sounds of the ocean, i.e. wind, waves crashing against a shore, are played in the patient's tapes. In the final episode, the same sounds are heard outside of a tape.
  • Ascended Extra: Season 1's Narrator of the Institute's Relaxation Cassettes, in passing asides about her life, talks about a favorite, underappreciated artist whose work she owns. This painter, Roimata Mangakāhia, is the principal narrator of Season 2, where she analyzes the works of her own favorite artist in museum audio guides.
  • Ascetic Aesthetic: The Narrator of Season 1's Relaxation Cassettes refers to the Institute as "white and sterile."
  • Bad Liar: Season 1's Narrator is really bad at hiding just how much she knows about the patient listening to the tapes personally, such as locations of scars and her childhood.
  • Because You Were Nice to Me: In Tape 4 of Season 3, Michael reminisces on when he first met his wife and remarks that a moment that particularly caught his attention was when she didn't react strangely when he identified as a man since many people still addressed him by his pre-transition name at the time.
  • Beleaguered Childhood Friend: By the time "Cassette #4: Sadness, Lungs" is received, the patient, trapped in the Institute and struggling to find a way out, rediscovers a childhood companion who offers further aid in escaping: the Cassettes' Narrator herself, who reveals that she's offering this aid purely because of remembering their prior relationship.
  • Big Brother Is Watching: Season 1's Narrator makes a point of explaining the Sinister Surveillance of the Institute's cameras and security nurses, but in Cassettes #3 and #5, also uses the visualization exercises as a pretext to describe times when the patient was tailed and observed by multiple agents in the outside world for unwittingly deviant behavior, precipitating admission to the Institute.
    Narrator: They are watching you...They have sunglasses, and cigarettes. They have books, but they are not reading. They have an unpleasant dog with them...They are neither smiling nor laughing. They look at you. From far away.
    • In Season 2, the men and their unpleasant dog are mentioned often in Claudia's paintings and Roimata's stories, watching Claudia. In Season 3, they begin watching Michael too.
  • Body Horror:
    • In "Cassette #4: Sadness, Lungs," the Narrator uses an autogenic exercise to reveal and explain hidden, standard-issue Cybernetic implants to the Institute patient. A hollow between the patient's lower left rib and left hip is supposedly occupied by a mechanical creature with "many legs". It collects their memories.
    • In "Cassette #9: Loss, Hands" the Narrator explains replacement devices typically issued to patients of the Extensive Studies Lab, and elaborates on the surgical wounds incurred in gory, explicit detail. The "creature" was a black box that monitored the patient's vitals, now replaced with a transmitter used to track the patient should they try to escape.
  • Book-Ends: Season 2, if the donor-only Episode #0 is included. Both episode #0 and #10 are audio tours of the Karikari Contemporary Gallery, set 17 years apart.
  • Brainwashing for the Greater Good: The Society of Wires ensures the nonviolence of its citizens in the aftermath of a devastating war, the Great Reckoning, through pharmacologic and cybernetic repression of memories, and batteries of psychological programming, introduced when a child turns ten.
    • Season 1's patient, after illustrating deviant behavior, is supposedly undergoing a rehabilitative variation of these interventions during their stay at the Institute.
    • Season 2 reveals that people who were older than ten when The Society perfected these measures only underwent a less extensive reeducation program, and this age cohort is granted somewhat wider latitude in behavior and opinions. Claudia Atieno, as an artist born near the end of the Reckoning who lived through The Society's creation, is allowed to make paintings that depict and comment on now-forbidden family life and violent war, some of which are displayed in the "Remembrance Wing" of the Tate Modern.
  • Call-Back: Season 2, Cassette #10 is narrated by Hester, the narrator of Season 1. She asks if the listener is answering her questions out loud, much like Oleta accidentally said "freedom" out loud in season 1, and says not to.
  • Call-Forward: Season 3, Cassette #9 implies that Vivienne's child was Nell, Oleta's older sister. Cassette #10 continues on to indicate that Vivienne's second child, presumably Oleta, was a difficult child and Vivienne didn't want to let her go.
  • Cast Full of Gay: As is not uncommon in Night Vale Presents productions, each season of Within the Wires produced to date has featured LGBT characters in prominent roles:
    • In season 1, the narrator, Hester, seems to have been in love with the main character, a childhood friend named Oleta, and is mentioned in Season 2 to be married to a woman.
    • In season 2, Claudia Atieno is mentioned to have had both male and female lovers, and the narrator, Roimata, is shown to have been very close to her, though whether or not she had romantic feelings for Claudia is left unclear.
    • In season 3, the main character, Michael Witten, is a trans man married to a cisgender woman.
  • Caustic Critic: In Season 2, Alphra Bond, who is mentioned to have strongly disliked the work of Claudia Atieno.
  • Climbing the Cliffs of Insanity: Invoked in "Cassette #4: Sadness, Lungs," by the Narrator, who uses a visualization exercise as a pretext to prepare the patient for a difficult phase once they've eventually Escaped from the Lab.
    Narrator: Remember: the cave is high, and it is hidden, and it is difficult to get to. Falling water thunders past you and sprays you as you climb. The slope is slippery and your clothes are wet. It is difficult, but freedom always is.
  • Cold-Blooded Torture: The Extensive Studies Lab. Before the "Sounds of Carpentry", several tests are administered to patients. While we are spared a clear description of the tests themselves, we are given hints as the tapes prepare the patient for what is to come, and afterwards talk of the recovery that they will be in the midst of. Cassette #7, for example, guides the patient through rolling their head from side to side, saying that the upcoming test will put them through this motion at speeds beyond what their muscles are capable of, and that they WILL be concussed.
  • Continuity Nod: While each season so far has been fairly self-contained with its own central characters, some overlap does occur:
    • In the last tape of Season 2, Hester, the narrator of the Season 1 tapes, introduces the current tape.
    • Throughout season 3, Michael sometimes mention that he and his wife, Vivienne, own a painting by Claudia Atienno, an artist and supporting character from season 2.
  • Corrupt Corporate Executive: In Season 3, Karen Roberts, another Society bureaucrat of similar rank to Michael, is a supposedly former corporate executive who, as far as Michael has been able to find out, still hasn't sold her shares in her old company, KR Development Inc., despite having a government position where she manages trade. Also, there are rumors that militias in the Central or South American region are still being supplied by weapons from her company.
  • Crazy-Prepared: At the end of "Cassette #9: Loss, Hands" the Narrator suddenly urges the patient to obey a series of commands which will facilitate escape, incapacitate the security nurse and allow them to meet again but only if she has timed the duration of the cassette perfectly, and if the tape was turned on to play at exactly the right time.
  • Cybernetics Eat Your Soul: Downplayed, in "Cassette #4: Sadness, Lungs," it's revealed that people are possessed of a standard implant between ribs and hip that removes and stores memories, and is implied to manage instincts that include the impulse to violence. The Narrator attempts to use autogenic exercises to let the patient control their implant enough to restore some memories.
  • Deadly Euphemism: "Carpentry" in "Cassette #5: Focus, Nose." After listing the tools used in the Extensive Studies Lab, the Narrator says that the sounds of carpentry do not always mean carpentry is taking place, and refers to these procedures and noises only as carpentry for the duration of her tapes.
  • Dissonant Serenity: The tapes in the first season usually have spa music playing in the background of the spoken instructions, which sometimes get into pretty nightmarish territory when describing the workings of the Institute and other things.
  • Dystopia Is Hard:
    • Discussed in Cassette #3: Insomnia, Feet," as The Narrator details the effort Big Brother takes in maintaining select freedoms in a civilization that engages in top-down social engineering.
      Narrator: Imagine the work that goes into making Frisbees and adopting dogs and recording music and allowing public dance spaces. Imagine all of the work people with sunglasses and cigarettes standing in cheering smiling crowds must do so that these crowds can cheer and smile.
    • Season 3, set during the 1950s of the podcast's timeline, takes place during the early days of the Society's foundation and shows the difficulties people working for it, such as the season's protagonist Michael Witten, faced in restructuring the infrastructure and legal systems of the old world.
  • Empty Shell: In "Cassette #5: Focus, Nose." The Narrator warns of the fate of an intractably violent patient, eventually sent to the Extensive Studies Lab to undergo "carpentry."
    Narrator: No one smelled sawdust. As I record this cassette I am looking at that patient, right now. Looking. Right. At. It.
  • Escaped from the Lab: Invoked by Season 1's Narrator of the Relaxation Cassettes, as she gradually drops more explicit hints about the Institute's layout, surroundings, and security flaws to aid the patient.
  • Equal-Opportunity Evil: The Society might brainwash and forcibly lobotomize people, but it doesn't discriminate on the basis of sexuality, gender, or race. It's not perfect—Michael does describe having some problems with people misgendering him when he was earlier in his transition—but it actually seems to be slightly further along than our world; this is especially prominent in Michael's situation, since he holds an important government function while living as an openly transgender man, something that wouldn't have been possible in the real-life 1950s, when his storyline is set.
  • Every Episode Ending: After the credits, each episode ends with some variant of "Our time is done. It's you time now," followed by three allegedly relaxing items filled in, Mad Libs-style, by a distorted voice. The three items are frequently bizarre non-sequiturs.
    Our time is done. It's you time now. Time to draw a bath, play some music, and light an aromatic candle. Today's scented candle is: WOODCHUCK MAKING PANCAKES. Today's relaxing music is: WHOLE NOTE FOR SOLO BASSOON. Today's bath is filled with: CEREAL MILK.
  • Foreshadowing: In an early tape of Season 3, Michael mentions in passing that Amy had some crafty hobby and thinks it's either pottery or woodworking. Hint: woodworking is major part of carpentry.
  • For Want of a Nail: Invoked in Season 3, Cassette #10, Michael wonders if his failure to invite Amy to dinner and get to know her is somehow responsible for her work with Vishwathi Ramadoss and Karen Roberts to found the Institute.
  • Genre Roulette: As of season 3, each season has leaned towards a different genre from the others.
    • Season 1 establishes a lot of the world of Within the Wires, stars someone who is imprisoned within it and is more of a dystopic story.
    • Season 2 is more of a quiet drama focusing on a woman's relationship with a close friend (and possibly more).
    • Season 3 is a political thriller.
    • Black Box is a fugitive's flight from authority figures.
  • Idiot Ball: Season 1's Narrator exploits a trusted position of authority within the Institute to deliver her increasingly-transparent instructions under cover of an existent program, using her status to avoid supervision or review. But it's nothing short of a miracle that she and her off-curriculum tapes evade suspicion or discovery given the patient's mistakes, especially after the patient has a behavioral episode, during a botched escape attempt she directly intervenes in. Staff may have become somewhat suspicious by Cassette #9, when the patient is still allowed to listen to the tapes, but is no longer allowed to use headphones.
  • In Spite of a Nail: In one of the tapes of Season 1, it's mentioned that the main character had a Siouxsie and the Banshees cassette on her when she was admitted to the Institute, meaning the band came to exist despite the Alternate History setting of the podcast.
  • Is This Thing Still On?: In Season 2, many of Roimata's later audio tours drift off into deeply personal commentary on Claudia. Cassette #10 mentions that many of the cassettes were never used for this reason.
  • Karma Houdini: Vishwathi Ramadoss and Karen Roberts get a slap on the wrist, if that.
  • Lobotomy: In "Cassette #5: Focus, Nose," The Narrator reveals that the rare intractably violent patient will undergo "carpentry" in the Extensive Studies Lab, by way of warning her listener to maintain the appearance of compliance.
  • Love Makes You Evil: Defied by the Institute and The Society of Wires. "Cassette #5: Focus, Nose." reveals that they consider parental and familial affection one of the factors that resulted in a massive, world-destroying war. Because of this, children are separated from their parents and siblings at the age of 10, after which they are raised and educated by caretakers instead.
  • The Men in Black: Men in dark suits, with sunglasses and cigarettes, and their unpleasant dogs. The Institute and its founders, Vishwathi Ramadoss and Karen Roberts use them for their Sinister Surveillance.
  • Missing Episode: In-universe. In Season 2, Cassette #10, it is stated that Roimata made 11 audio tours, 9 of which were for museums still in existence. The narrator of Cassette #10 was only able to obtain 5 of the cassettes, which means the podcast listeners have heard cassettes that the narrator has not. In particular, it seems highly unlikely that Hester, the narrator, got a copy of Cassette #9, as it clarifies information about cliff diving that she claims not to know.
    • There is also a missing episode for the podcast listeners, however. Including the donor-only episode #0, only 10 recordings of Roimata's have been released.
  • Nameless Narrative: In Season 1, no character featured, not even the patient or the narrator, gets a proper name until Cassette #6, which identifies the patient as Oleta and the narrator as Hester.
  • One World Order: "Cassette #5: Focus, Nose" talks about how, after a massive war, all nationalism, flags, and soldiers were "done away with," and replaced with the Society. Given the later description of what happens in the Extensive Studies Lab, there's the question of how said soldiers were "done away with." It may have gone beyond just disbanding their units...
  • Parting Words Regret: In Season 2, Cassette #9, Roimata discusses her last conversation with Claudia. Claudia was finally willing to go through with the cliff-diving that Roimata has been attempting to convince her to try; Roimata seems to deeply regret failing to warn her friend that the tide was out, and it was not safe to dive at that time. It is evident but unstated that she feels responsible for her friend's death.
  • Plagiarism: In Season 2, Roimata's tapes eventually start revealing that Claudia had a habit of taking concepts and outlines of paintings or drawings that other artists, Roimata included, had tinkered with in private and stealing the ideas and creating fully fledged artworks based on those ideas and claiming to have come up with them herself. Of particular note is a painting whose composition and imagery Claudia ripped off from a friend she deliberately let take the fall and be accused of plagiarizing her work.
  • Reality Ensues: Season 2, Episode 10 states that Roimata's more emotional tapes were never actually used, as they were judged "not up to museum standards". (Although this is a bit of Fridge Logic, because apparently, as seen above, nobody at the secure government facility was quality-testing Hester's tapes.)
  • Second-Person Narration: Subverted. Season 1's Narrator of the Relaxation Cassettes addresses the Institute's patient as "you" and feigns impartiality as a purely instructional, pseudo-omniscient figure in those exercises that mimic a typical guided meditation, but as her instructions deviate to become peculiarly specific, she eventually drops the façade to refer to herself as "I" at the end of the first cassette, and addresses the patient with increasing directness in subsequent installments.
  • Speculative Fiction LGBT: Like the other Night Vale Presents podcasts, this alternate world is considerably more accepting of LGBT people than the real world (see Cast Full of Gay above).
  • Stalker with a Crush:
  • The Tape Knew You Would Say That: Played With in "Cassette #9: Loss, Hands," when The Narrator attempts to account for the presence and potential reactions of a security nurse when the patient can no longer use headphones or listen unsupervised. While Oleta is being treated after time in the Extensive Studies Lab, Hester walks Oleta through the nurse's procedure and, eventually, provides an escape plan accounting for the nurse being distracted by the tape's instructions, giving Oleta a window of opportunity to break free. However, as Hester points out, she can't know if the recording was properly timed for the plan to work.
  • Tempting Fate: Michael hopes he never meets a child who has to spend time in the Institute. It is strongly implied that Oleta, from Season 1, is Vivienne's daughter.
  • Tested on Humans:
    • Implied in Season 1, when people are sent to the Institute's "Extensive Studies Lab," but the Narrator tells the patient not to think about what's happening there.
    • "Cassette #7: Doubt, Head" goes into greater detail about some of what happens in the Extensive Studies Lab, explaining standard procedures to the patient after recapture following a failed escape attempt, and transfer to the program.
  • Unfortunate Implications: In-universe. Michael points out that, given Britain has only just given up its control of Ireland (season 3 is set in the 50s), a London office shutting down a Society-critical play in Dublin on flimsy grounds doesn’t exactly look great.
  • Wham Line: In Season 1, all the Cassettes had been about preparing the patient for escape from The Institute. Cassette #6 ends on an announcement of a sudden acceleration in their timetable. "This is taking too long. I didn’t want this to take this long!... 2:05am. I want you to grab whatever you can and run. I want to get you out!"
    • Season 2, Cassette 9 has an extremely spoiler-y one that only makes sense in context: I didn't tell her it was low tide.
  • Wham Episode: "Cassette #7: Doubt, Head" opens with the words "Welcome to the Extensive Studies Lab Preparation Program", revealing that the patient was recaptured when trying to escape The Institute between this and Cassette #6. It's not about relaxation anymore (not that it ever was). Now it's about survival.
  • What the Hell, Hero?: In the Sree Chrita episode, Roimata gives an extended posthumous callout to Claudia via art exhibit. Back in the 60s, Claudia copied the work in progress of a mutual friend, Vanessa Nguyen, then let everybody think Vanessa copied her, which tanked Vanessa's career. Roimata feels bad about keeping quiet for so long, and is in the anger stage of grief over Claudia's death, so she lends Vanessa's painting to the museum and has them hang it right across from Claudia's, then makes sure the audio guide explicitly says Vanessa's was painted first multiple times.
  • World Half Empty: The Great Reckoning was exponentially worse than any war in our timeline—in the "Museum Audio Guide #6: Montreal Museum of Fine Arts", Roimata says that there are only two hundred million people on the entire planet as of the 1970s. For comparison, the population of our world in the '70s is estimated to have been a little over 4 billion. No wonder the Society took hold so easily.
  • Your Cheating Heart: Claudia Atieno's ex-boyfriend, despite their relationship being polyamorous, felt the need to tell all his lovers, including Claudia, that they were his only partner. Hence the "ex".

End Side B. [ding] [click]

And now, our time is done. It's you time now. Time to edit a page about DYSTOPIAN ALTERNATE UNIVERSES, clean up some wicks to NINETEEN-EIGHTIES BOY BANDS, and start a YKKTW about DISTORTED AUTOMATED VOICES.

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