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#*paternity testing feminism art matters centralize her emotions not the person etc etc etc etc
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“I also personally LOVE the delusion of "Everyone we know understands why we're meant to be" because it's so integral to the entire point of the song” — THIS THIS THIS. Remember, that line comes after she admits that they’ve both told their friends separately that they’ll kill themselves if the other leaves, one of the biggest and most obvious red flags a relationship can have. As someone who’s had a friend say something similar to me in the past, I can guarantee that everyone most certainly did not understand why they’re meant to be — if Jack’s experience was anything like mine, that statement would have gotten an anxious laugh and an internal she doesn’t mean that seriously, right? The relationship described in little ttpd is neither healthy nor romantic. The narrator is trying desperately to convince herself it is, which is why she’s telling herself all their friends are on board with it when it’s not entirely clear if they are (notice that we don’t hear Lucy or Jack’s reactions to these very concerning statements — we have to take Taylor’s word that they understand why they’re meant to be*, and a recurring theme throughout especially the first half of this album is that Taylor isn’t always the most reliable narrator). For that reason I don’t really struggle with the “how could she write this about HIM??” feelings with little ttpd in the same way I do for songs like loml. Little ttpd is just a detailed accounting of what she’s summarizing in icfh(nric) — an unhealthy, rapidly failing relationship built on lovebombing and delusion. And I am totally fine assigning that to Mr. Smallest Man Who Ever Lived (said jokingly — obviously with the paternity test disclaimer and understanding that Taylor’s music is much more than the men who may have potentially inspired it)
*and yes I realize that all of Taylor’s work is technically based on us taking her word for things, and that even if she gave us the full conversation we would still be taking her word that it’s true, but I think even with that she’s still presenting herself as an unreliable narrator in this song and that the choice to leave out her friends’ reactions/responses was an intentional one
This was fantastically said friend and I so agree and I also think that this extra bit of Required Reading is perhaps why Poets might have such a higher barrier to entry for listeners and also why some of its earliest criticisms lose weight once you give the album its due and listen to it the way it was meant to be consumed - over a long period of time and with careful consideration to the context and the intent of the artist.
The album is too long and overly, unnecessarily wordy. Yes.
Some of the lyrics are super cringe and weird and awkward. Yes.
It's really gross that she's romanticizing being in love with someone who's not a good person. Y E S. YES?!?!?!??! YES!!!!!!
THAT'S THE POINT. THAT'S THE POINNNNNNNNNT! THAT'S THE POINT!!!!!!!!!!!!!!!!!!!!!!!!!!!!
And yes completely agree that while there's a precedent set that if you're listening to a Taylor Swift song you're getting her *biased* POV as in her version of events (which, tbh, her version of events usually goes reasonably unrefuted by people which I'm led to believe means it's typically close to right even if it's fuelled by her own biased personal emotions). But never elsewhere in her disco as we do on TTPD do we have to confront the fact that her biased POV is also a really fucked up one that she herself does not even necessarily believe but is doing her best to convince herself that it's true and good for her and right. And you have to be actively hearing and discerning and comprehending and analyzing what she is saying and how she is saying it in order to *get that*.
Poets inherently does not reward passive listening. And if you tuned out once you grasped who a song might* be about because you personally dislike them** you miss almost the entire point of what Taylor is trying to communicate.
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