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Casually listening to Guilty As Sun and
Lowercase…
Inside a vault…..????
Longing for someone (during rep era) that you have to hide. That makes you feel guilty, like you’re sinning….
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I struggle w Taylor bc I know she doesn’t want her songs deduced to paternity tests but she also leans in. Hard. Especially w TTPD.
Oh she absolutely does want people paternity testing her songs. She is a billionaire because people do this, and that’s a main reason she leans into it. And as I said it adds context which would otherwise not let you understand her songs (whether it’s the fictional meaning or the real meaning.) Many songs become better and more deep if you know the reference. Just like Mad Woman is better if you know Yael is a Scorpio and that scooter and Yael got divorced after the song revealed to the world he was cheating. Those aren’t examples of songs about her exes, but it’s the same idea as knowing which muse’s name sounds like car, who ‘you’ is in MAATHP, or about Dianna’s tattoo, or the fact that Jake hates pop music so she made the poppiest song she could to annoy him. It all makes her art better if you understand the deeper meanings, no matter if it’s based on a love story not. And sometimes knowing the use an picking the right one matters, like London Boy is 100X better as a satiric song about Joe and her generally laughing at the public perception of her, than say, trying to make it into a love song about Lily D.
What I imagine she doesn’t want is for people only do that. And only do it at a surface level. Like, “Oh this song is about harry. Next! Oh this song is about her fling with Alex Skarsgard, next! Oh this song is about <insert woman of the week who she stood next to>, next!”
And I like to think she prefers that in some case you know the real muse because it helps you understand her better. Like in MAATHP. There is an enormous difference in the depth of the song between the two main muses people attribute it to.
But at a basic level, if it helps get more people to buy/stream her albums, it’s all good for her.
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I feel so high school every time I look at you (derogatory)
I want to find you in a crowd, just to hide from you (also derogatory)
I’m sinking, our fingers entwined (this makes me feel low)
Cheeks pink in the twinkling lights (I’m so fucking embarrassed, is my face actually red?)
I’m watching American Pie with you on a Saturday night (I bet this is how you spend your time you childish loser)
You’re friends are around so be quiet (don’t slip up idiot, no one can find out)
I’m trying to stifle my sighs (I’m so bored with this)
Are you gonna marry, kiss or kill me? It’s just a game but really (I have to be with you and it’s killing me)
No one’s ever had me, Not like you (I don’t date men)
You knew what you wanted and boy you got her (I’m so good at this, you don’t know what you’re in for)
I feel like laughing in the middle of practice (we’re rehearsing and I can’t take you seriously)
I’m hearing voices like a madman (this is making me crazy)
You know how to ball, I know Aristotle ( Travvy throw ball good)
It’s true, swear, scout’s honour (I swear it’s true, however unlikely it may seem!!!!)
This song is HILARIOUS, it’s the new London Boy. She really isn’t holding back, she thinks he’s a dumb, redneck idiot and isn’t afraid to let him know
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i think this album is a lot more abstract than we're used to with taylor, who is usually pretty direct, but people are still interpreting some of these lyrics extremely literally to infer factual real life events. sometimes lyrics just rhyme. sometimes imagery is used to invoke a feeling rather than make a legally binding statement. its ok to not know everything that happened to her for these songs to be, its more important to know whats happening with YOU as you listen to them.
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The Fortnight video foreshadows the convergence of Taylor Swift and her brand
In her videos, Taylor has continually played with the idea of herself as a person versus as a brand. These portrayals have almost been adversarial in nature. Think about the relationship between the two life sized Anti-Hero Taylors. The hooded robot Taylor who got to exist in the world while her bare counterpart was trapped in glass. Etc.
The Fortnight video introduces similar characters but flips the script because there isn’t a me versus her dynamic anymore. Instead, there is a story about coming together.
A scene by scene breakdown:
Taylor Swift™️ is chained to a bed in a white gown with a spicy slit and garter. A faceless nurse enters walking upside down on the ceiling (a continued theme suggestive of PR games). The nurse presents “Forget Him” pills, arguably reminiscent of a dark time where the world thought they could “cure” homosexuality. After Taylor Swift™️ begrudgingly takes her dose, the nurse unchains her.
We then see Taylor Swift™️ approach a two way mirror and wipe the mask off her face, revealing face tattoos we know to be Post Malone’s in real life. This reveal is setting the scene that within this video Post Malone represents Taylor’s inner self, her true soul behind the veil of celebrity. I’ll call him True Taylor.
Next, the mask is back and we see Taylor Swift™️ walk out of the observation room and into the workspace. She goes from wearing a leggy white gown with garter to a fully covered black poet-esque dress. She isn’t dressed for voyeuristic eyes anymore, she’s dressed to work on her art. I love this light to dark transition because black can be seen as the absence of light. Fitting for a tortured poet who can’t live her truth in public with her sunny muse by her side.
Note that we don’t get to see black dress Taylor Swift™️ through the two way mirror. She exists behind the bright lights of fame, making art in a room hidden from our view. Maybe the pills numb her enough to twist the art for an audience who likes to her to be chained to a bed while they watch her suffer.
But wait Taylor Swift™️ and True Taylor are collaborating. They start work separately but their art eventually drifts out of their typewriters, combining into a white light that bursts into a rainbow. Remember how I said black light is the absence of light? Well white light is comprised of all hues on the visible light spectrum.
We know there are layers to Taylor’s music: the surface layers chock full with to red herrings for the grocery line Swifties and the deeper layers of Taylor’s truth. They both exist in the art, swirled together.
But here is where things start to feel different. We cut to True Taylor and Taylor Swift™️ away from all those faceless people - they are alone in the middle of a road. That in itself is ridiculously symbolic of being on the way to somewhere (maybe brighter days). But there’s more because they are dressed identically, laying inside Taylor’s head that is made up of their art. This scene is like bonking us on the head that these two people are one and the same.
Note: The silhouette here is from the Style video which also portrays Taylor’s inner self as a man.
Taylor Swift™️ runs to True Taylor and they embrace in the middle of the road as pages of their art float around them. In the chaos, Taylor Swift™️ reaches out to True Taylor.
Maybe this scene is suggesting the public version of Taylor is ready to embrace her real self.
Then we see Taylor Swift™️ strapped to a table, wild hair from dropping the hairpins we saw in the opening scene. The drugs aren’t working, it must be time to escalate to shock therapy. The men around her gather and there is literally a sign in the background that says “Master Control”.
But one of the men in the room making decisions for the brand is actually True Taylor, who has been there all this time.
Enough is enough when True Taylor can’t take the pain and pulls the plug on the procedure, freeing public persona Taylor from torture.
Next we see True Taylor, familiarly encased behind glass, on a phone call. Perhaps making plans while safe from the rain. Taylor Swift™️ is elevated on a pedestal, out in the storm, in her best dress FEARLESS! Credit to @rep-princess-witch who put the fearless connection together in another post.
I’ll say it again, that is the huge difference in this video compared to others. Here, Taylor Swift™️ is not an antagonist, she is ready to brave the storm.
So what does she do? She’s back in the workspace burning all the files. It’s not without emotion but it’s necessary. We then see a stoic Taylor Swift™️ with no regrets.
After burning the files she’s back in the observation room. It’s time to fight back against the voyeurs and she does so my smashing the glass between her and them. She regains her agency by squashing their ability to hide. Shes deserting her past life.
Note: We don’t see True Taylor back inside. This fight is specifically for Taylor’s public persona.
In the closing seen, we see True Taylor leave shelter, step outside into the storm, and reach for Taylor Swift™️. The person and the public persona are weathering the storm hand in hand.
*Please check out @heyitsmoog on TikTok - he shared thoughts there that inspired me to make this post.*
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"It’s about how horrible being famous is.” (taylor before playing "the lucky one" in arlington, texas)
clara bow - the last great american dynasty - nothing new - the profecy - the lucky one
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taylor: i am obviously very heterosexual 🙄
also taylor: remember when we hung out in closets and then you left me inside the closet, back when you were mine, and then said you’d come back for me after you grew up? are you still a natural scene-stealer? can you still read my mind, twin? things were always so easy for you and i’m jealous and think about you and our oceans of promises every time we cross jet plane paths. i waited through a bunch of useless, masquerading men for you to come back
also taylor: once you touch up your makeup i’m going to flip you around and fuck you inside this closet and then leave you there like a house party and torpedo your life the cars you’re really bad at driving
also taylor: bisexual lover of mine from a decade ago, do you remember when i switched out all my partners over the last decade and it still wasn’t enough to keep us together and i still wonder if we would’ve worked out and how it would’ve been if we were brave? i changed myself a million times hoping you’d come back and i guess i am trapped in this scarlet maroon hell i built with my former roommate.
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Taylor Swift for 'THE TORTURED POETS DEPARTMENT'
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Taylor Swift talking about her song 'Down Bad'
''A lot of the songs on TTPD deal with the idea of heartbreak or loss in a metaphor of something else. The metaphor in 'Down Bad' is that I was comparing the idea of being love bombed, where someone rocks your world and dazzles you and then just kind of abandons you as a alien obduction where you were abducted by aliens, like, this girl is abducted by aliens, but she wanted to stay with them.. and when they drop her off back in her hometown she said 'wait, no, where are you going? I liked it there. It was weird, but it was cool, come back..' and so the girl, the character in the song, felt like, I've just been exposed to a whole different galaxy and universe I didn't know was possible. How can you just put me back where I was before?''
📸 Via shesjustlosingit on TikTok
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i think people are mostly right when they say that taylor doesn't make good or interesting music post-folklore because she's simply too famous and too concerned with being a Corporate Brand, but i also think about why the same thing didn't happen to the beatles when they were at a similar level of popularity. and of course the music industry is very different now but i also think a big reason is that there were four of them. like maybe if taylor had three homoerotic girl besties telling her to kill herself every week who she had to compete with for album space her music would be better
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so are we going to talk about this part or? 😭
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taylor:
also taylor:
and so i enter into evidence the artifacts and manuscripts
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