This in-depth analysis dismantles the “weaker” critique by celebrating the album’s sophisticated duality; its “For Better” self-love and “For Worse” pragmatism; and champions favorites like “FTM” and Situationship” as proof of her fearless artistic growth and the perfect end to an iconic trilogy.

Summer Walker’s third studio album, Finally Over It, is a ambitious and stylish conclusion to her iconic “Over It” trilogy. While it has received mixed reviews, I say it’s her best album yet supported by its musical evolution and conceptual depth. The subsequent release of two deluxe editions further enriches the experience for dedicated fans.

Released on November 14, 2025 (just in time for my birthday, which was a day before), Finally Over It serves as the finale to Walker’s trilogy that began with Over It (2019) and Still Over It (2021). The album is structured into two discs, “For Better” and “For Worse”, representing a journey of self-love and honest confrontation with past relationship patterns.

The album’s central theme is powerfully communicated through its visuals. The cover art is a direct recreation of Anna Nicole Smith’s 1994 wedding to J. Howard Marshall, a bold statement on the transactional nature of love and performance of happiness. Walker reinforced this motif by wearing wedding dresses throughout her promotional campaign.

Musically, Walker moves beyond her signature “trap-soul” sound to explore polished 1990s and early 2000s R&B, working with genre legends like Bryan-Micheal Cox, Kuk Harrell, and Troy Taylor. The album is also notable for its heavy use of samples and interpolations from R&B classics, including Beyoncé’s “Yes” on “No” and Mariah Carey’s “Always Be My Baby” on “Baby.”

While the album has high points, one common criticism is its overabundance of features. With 13 guest appearances, some collaborations shine (e.g., Brent Faiyaz on “Number One” and Mariah the Scientist on “Robbed You”), while others are perceived as underwhelming, such as the collaborations on “Go Girl” and “Baller.” Some critics also note that the “For Worse” disc lack the dynamism of the first half, and the two-disc concept felt uneven.

Shortly after the main album, Walker released two deluxe editions, offering fans new content and previously unavailable tracks.

Finally Over It (Cocktail Hour): This edition is an iTunes exclusive. It includes new installments of her beloved Sessions series (“Session 34” and a live “Session 32” from her Breezy Bowl tour), plus a behind-the-scenes breakdown of the creation of “Go Girl.”

Finally Over It (The After Party): This is the deluxe version available on all streaming platforms. It officially brings three tracks to digital streaming: “Take Me Out This Club” and “Drown In My Love” (which were previously exclusive to vinyl), and a solo version of “1-800-Heartbreak” (the better version in my opinion).

Finally Over It may not have the raw, diaristic intimacy of Over It or the specific catharsis of Still Over It for some listeners, but that’s the whole point. Every album in this trilogy is meant to convey a different message to tell a story to shape her art in a complete manner. Finally Over It succeeds as a confident evolution. It presents an artist who is more sonically adventurous and in control of her narrative.

It is this journey through the bitterness of heartbreak and the peace of self-reclamation that allows her to be, at long last, finally over it.