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biblicalhorror · 1 year

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Zaylor Midnights, Part II

And we're back! If you haven't yet, please peruse the disclaimers I covered in Part 1.

Let's jump right in!

8. Vigilante Shit

Here's where we start to get some more Catwoman vibes on this album.

"Cat eye sharp enough to kill a man"

Also some generic Gaylor lyrics:

"I don't dress for women / I don't dress for men" Oh so you're bisexual? Okay got it. Case closed.

"Picture me thick as thieves with your ex-wife"

Also the implication she fucked Scooters wife is too funny to not mention. She loves a divorcée ;)

9. Bejeweled

Initially I was fully prepared to write this one off as a song about Jake or John or even Calvin and therefore irrelevant to Toë, but holy crap is this MV gay as hell.

Opening, of course, with the scene where Laura Dern satirizes the concept that a proposal from a prince being "the best thing a girl could hope to achieve"

Note this Kravitz quote from the earlier GQ article:

We'll come back to this later.

Anyway, Taylor plays Cinderella in this music video, who rejects the proposal from the prince (played by Jack Antonoff, who has the same initials as Joe Alwyn), impresses the Princess (played by Zoë Kravitz) with her burlesque routine she learned from queer burlesque icon Dita Von Teese, and ends up taking the castle for herself.

Basically, another song that has nothing to do with Zoë but is extremely gay (in context of the music video, at least)

10. Labyrinth

I go back and forth on this song. I've heard other people theorize that it's about trying to end a relationship and then falling back in love with the same person again, which I think is a totally valid interpretation. It could be that.

However! It sounds to me like it's about the feeling of finding yourself falling for someone new and your traumatized brain is so focused on what could go wrong that you get completely ahead of yourself and start mourning a relationship that hasn't even started yet. Taylor is a Cancer moon, which is a moon sign that is deeply introspective and retrospective. The "labyrinth of my mind" could be referring to the twists and turns her mind takes to convince her that every relationship will end in catastrophe based on the way past relationships have panned out. Past becomes present becomes future in this song. Maybe it's about finding her connection with Zoë after the fallout from a Karlie or Lily breakup? Maybe Joe cheated on her and she found comfort in the arms of Zoë and they became a polyamorous couple? Who knows.

11. Karma

EDIT: I've found some articles claiming Zoë is a songwriter on this one and others that do not mention her. I believe there was initially a mistake on the Apple Music pre-release info, so for now we'll say she's not in a fact a cowriter for this song.

Taylor Swift clearly has a complicated relationship to gender and womanhood. Many of her friends called her "king" in their 2021 birthday posts:

In Dear Reader, she explicitly refers to herself as a "cursed man."

Queer women also tend to have complicated relationships with gender due to heteropatriarchal society. Some lesbians and queer women use he/him or they/them pronouns for any myriad of personal reasons. It's not too far-fetched that these women could possibly call each other by male pronouns/adjectives sometimes.

Zoë had this interview where she talks about High Fidelity, identifying more with male roles because they're often written to be more complex and nuanced due to misogyny in film/tv, and how passionate she is about how "women can be fuckboys, too"

"Karma is my boyfriend" but also "Karma is a queen" >>> "Karma" is both genders and neither gender. (Note: Zoë has a tattoo of a crown on her finger)

"Sweet like honey, Karma is a cat" First of all, that's pussy babe

Also, these two stone cold weirdos apparently have the same method acting technique:

"Flexing like a goddamn acrobat, me and karma vibe like that"

What else could "flexing like a goddamn acrobat" refer to other than Zoë playing a superhero famous for her acrobatics (and/or Taylor being in Cats (2019))

these two weird Sagittarius girls love to simply vibe together as cats or otherwise

"Karma is the guy on the screen coming straight home to me"

Not "Catwoman of my dreams" but "CAT WOMAN OF DREAMS" this girl is horny as hell and loves dreaming about women

Sweet like JUSTICE = another batman reference, of course

12. Sweet Nothing

Written by William Bowery who we think could be Zoë

Zoë also lived in London from 2020-2021, she could possibly have gone on holiday to Wicklow (in Ireland) after filming for The Batman wrapped

Taylor made her meals throughout covid isolation and a birthday dinner in December of 2020. Nice to Have a Friend in your pods with you, huh ladies?

Also, remember when Zoë crossed the picket line for the Oscar's party and then made a "joke" about the Will Smith situation being uncivilized? This is a song about a couple of out-of-touch insanely rich girlies who just Can't Be Bothered and also happen to be in love

Speaking of which, if this is in fact a song about Joe Alwyn, it's a (pretty) lie. "All that you ever wanted from me was nothing." Being in a relationship with Taylor has gotten him movie/tv roles, a Grammy, etc. He's gained so many accolades just by being associated with Taylor. If he doesn't want any of that, why does she keep jeapordizing her own image as an artist to get him awards? Zoë likely genuinely wants nothing from Taylor because she's been famous her entire life. She doesn't need Taylor to pull any strings for her to get roles or accolades.

13. Mastermind

This song is Taylor being very tongue-in-cheek about how this lover she's been singing for four albums about is actually a target she decided on long ago

Starts with a hand touch in a crowded room (obvious Gorgeous reference), that Bowery hangout did look awfully crowded, didn't it?

Dominoes cascaded in a line >>> hair falls into place like dominoes (Gold Rush)

All the wisest women had to do it this way / WE were born to play the pawn in every lover's game (as in, WE women are forced to play these roles)

Two lines that could reference Zoë's tattoos:

"I'm the wind in our free-flowing sails">> Zoë has several pirate themed tattoos

"And the liquor in our cocktails" >> "être toujours ivre" (always be drunk) tattoo

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And that's it for the 13 original Midnights tracks! Part 3 will be looking into the 3am tracks.

Part 1 | Part 2 | Part 3

#gaylor #zaylor #toë #taylor swift x zoe kravitz #gaylor analysis

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daisyswift3 · 18 days

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I Think There's Been a Glitch

GUYS I just realized sth crazy while watching this tiktok….I think the reason Taylor has red hair in so many mvs is bc it’s a play on the term RED HERRING. Red HAIR(RING). TTPD itself was a red herring and ends w the manuscript which is basically just the all too well short film (from RED TV) which she has red hair in. The glitches. Error 321. Bad BLOOD mv where she has red hair. THE RED BLOOD MOON. CHAOS 🫚 ANON = GINGER = RED HEAD = GLITCH. Glitching back to the 1989 era??…..

IT'S A CLOCK, IT CAN HELP YOU TELL TIME. She literally told us her entire plan all the way back in 2022. If the midnights vinyls make a clock that counts down to midnight then we’ve officially reached the “blood moon glitch” stage. I'm assuming 1, 2, 3 error/TPD (if you reverse the website glitch) was the moonstone vinyl so now we're at 4, 5, 6 the blood moon vinyl. The Jan 4 🫚 message tells us that we should be counting from 1-10 and not backward. And this means the final act ends in October AKA Halloween AKA pumpkin anon. "Frivolous, tenfold, 3 desires And until the clock strikes midnight Light the ground with fires." Seeing how each vinyl is a quarter of the clock and TTPD (the glitch/red blood moon/red herring) was released in April, I think it's safe to assume each quarter represents 1/4 of a year or 3 months. Which means 2025 or New Year's Day would be Midnight. So perhaps a kaylor reunion in Oct and an official coming out around Dec-Jan. This aligns w another interesting anon message we received abt New Year's Day being when an atomic bomb would go off (volcano anon?). "The real drama, the heartbreaking beauty of it all, unfolds not in a grand finale, but in the quiet unraveling. The magician's greatest illusion is the one you choose not to see." Shits abt to get crazy

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bigsurlor · 9 months

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cowboy like me by taylor swift, my interpretation and analysis

And the tennis court was covered up with some tent-like thing

Beginning with "and", it is important to note that we start our story in medias res, or in the middle of the narrative. Also that it begins in past tense, giving the audience the story of how our narrator got to the present, why they're "never gonna love again".

On expensive properties, the tennis courts are often located near or next to the gardens which makes a lovely venue, for both parties and weddings, once a marquee is placed on top. Given the "tent-like thing" covering the tennis courts and our narrator's habits of swindling rich people, both a party or wedding is the likely setting.

This opening line not only helps to set the scene of this event, but gives the listener the first insight into the character of the narrator. Of course this swindler would not know the name of this "tent-like thing", nor do they care to find out. They are there for one thing: conning old rich people.

It is also important to note that the narrator is seemingly uninterested and generally less than impressed.

And you asked me to dance, but I said, "dancing is a dangerous game"

This line paired with the last not only helps to set the scene of this event but also invokes imagery as well. Dancing typically requires a dance floor, so it is reinforced that our narrator likely is at a wedding (interesting note for later) or party.

I think dancing in this sense is to be taken both literally and metaphorically. Dancing as in becoming closer with another, the forming of a new relationship. So, this other person wants to become closer or more intimate, but our narrator knows and recognizes that doing so breaks into precarious territory, it becomes a "dangerous game". We'll come back to that.

Dancing with a partner is an activity that requires closeness, vulnerability, and an intimacy of sorts. It is moving in a way that is almost co-dependent. Every single thing you do will affect your partner in such a visceral physical and emotional way. Which makes it all the more interesting our narrator chooses to describe dancing as a dangerous game. We all know, games are a type of play or sport often between two people, a back and forth, using both skill and intelligence… which is kind of the opposite of the mindset to be in while dancing and outlook to have on it. Dancing is a partnership.

I believe this line is also an allusion to the short story, The Most Dangerous Game. Spoilers if you haven't read, but it is a story of the hunted and the hunter, one in which the hunter's barbaric game was twisted and turned against himself. The ultimate twist of fate, and the joke was inevitably on him. The "most dangerous game" occurs from the human ability to reason, it was a test of the mind. It was the protagonist's ability to ultimately stop running, to halt his prey behavior, and instead strategize, to outsmart his hunter that led to his safety. We know hunters for Taylor represent the public ("they are the hunters, we are the foxes", I Know Places) ("these hunters with cell phones", the lakes), so I would keep that in mind. For this person to dance with our narrator, it would put them both in a dangerous game, perhaps the most dangerous one.

Oh, I thought, 'this is gonna be one of those things'

To me, this is a double meaning lyric. "One of those things," being just another fling. Someone who comes and passes you by all the same, over before it really even started. But also, "one of those things," such as in reference to a bad or unfortunate event that could happen to anyone (ex: I missed my train, so I had to catch the next one. It was just one of those things, I guess.)

Now I know I'm never gonna love again

Note: alternating between past to present tense

At this point in the song, it is unclear in which way the narrator means this. Are they never going to love again out of the sheer heartbreak from meeting their match and someone who was able to deceive them in the ways they've deceived so many others, or because they will never find another and will love this one lover forever? Let's continue.

I've got some tricks up my sleeves

To have a trick up your sleeve is to have a secret plan, idea, or advantage that one keeps and can utilize when the time is right.

This line adds further characterization to the narrator. They aren't necessarily upfront or honest, they may use certain things to their own advantage. They are a swindler and bandit, after all.

This line also draws certain imagery to mind, like a magician doings tricks, pulling things from their sleeve to fool people. This imagery is important to keep in mind.

Parallels So It Goes...: "See you in the dark / All eyes on you, my magician / All eyes on us" and "All eyes on me, your illusionist / All eyes on us"

Takes one to know one

This phrase is an idiom meaning that it takes one specific type of person to be able to recognize that same type of person elsewhere. It is usually used to describe a trait so central to their personality that it sticks out very clearly to others with the same traits.

I believe this line functions as a double meaning. It gives some insight into the other person, letting us know that this person too is a con artist. They are a swindler like our narrator. But also, this line of thinking can also easily translate to a queerness "gaydar", or the queer community's ability to sense and pick up on subtle signs that another person is queer themselves.

You're a cowboy like me

This line tells the listener so much, but especially in regards to giving more insight into the characters of our narrator and their love interest. Cowboys are symbols of independence, isolation, and often lawlessness. They may always come into town, but they'll always leave it as well. They're hustlers, sometimes cheats, can be the best con artists, but ultimately, they're just trying to survive.

Cowboys have also long been a symbol for the queer community. Often preferring a "buddy" over a wife, building a closeness, homoerotic admiration, and level of intimacy much like with romantic relationships, historians do consider many cowboys to have been gay. Hollywood has even taken to this, with movies such as Brokeback Mountain (starring Jake Gyllenhaal and Heath Ledger). Make a mental note of that movie for later.

Another correlation I considered between cowboys and queerness is the lawlessness cowboys are often known for and the struggle for the legality of queerness.

Quick note: who remembers when WMagazine released their "Cowboy Karlie" photoshoot on July 2, 2018 and then eight days later Harpers Bazaar released their photoshoot of Taylor in which she's wearing the same dress from Givenchy's Fall 2018 collection?

Never wanted love, just a fancy car

Love and affection were never the ambitions or priorities of this narrator. It was success, money, all the fancy cars that drove them. Their focus has always been on hustling, which is what makes this next verse even more compelling. Look at the dichotomy of who this hard cowboy once was compared to who their love has transformed them into in this next line.

(For more reference of this dichotomy, we can view the parallels this has with King of My Heart: "Cause all the boys and their expensive cars / With their Range Rovers and Jaguars / Never took me quite where you do", "The taste of your lips is my idea of luxury", and "Say you fancy me, not fancy stuff".)

Now I'm waiting by the phone like I'm sitting in an airport bar

Our narrator using sitting in the airport bar as a simile for waiting by the phone fits so much into the characterization already previously established. Airports are a place where no one really stays or lingers too long, every person is just traveling through, stopping for a moment, but going onto their next destination much like a cowboy passing and traveling through towns.

While waiting at an airport bar, one is typically dealing with a lot of big emotions: feeling nervous about the flight ahead, having all types of thoughts swirling in your head while you anxiously await your drink. This is how our narrator feels while waiting to hear back from this person. Their hard exterior has broken down, priorities are starting to shift: they're beginning to realize they may have found love.

You had some tricks up your sleeves

Takes one to know one

You're a cowboy like me

Notice: past tense on "had". You had some tricks up your sleeves. You used to. This person is a cowboy, a bandit, a magician like our narrator (recall So It Goes...), but the tricks to take advantage of another are all past tense now that they are with their match, they are no more. Keep in mind as we move forward: our narrator has repeatedly expressed that these two are one in the same.

And now let's take a look at the "Kowboy Karlie" campaign Karlie did for Tamara Mellon in July of 2014:

Perched in the dark

Taylor's use of diction is so important and the word choice here, perched, draws such specific imagery and feelings within. Being perched on an object is to sit high above and is most often used and associated with birds.

This is yet another lyric I think has a double meaning. In a sense, it is metaphorical like an owl sitting high up and waiting for the perfect moment to swoop down to strike and kill, or looking for people to gain from or take advantage of. Yet also, its literal meaning can be taken as well. The narrator feels they are sitting high above everyone, hidden away in the dark as opposed to living in the daylight that is truthfulness and love. I could imagine it would feel such a way to be both a celebrity and closeted.

This lyric also brings to mind lines from tracks off reputation ("See you in the dark" ; "Gold cage, hostage to my feelings", So It Goes...) and folklore ("Living in a gold age, sneaking into my bird cage", Cardigan original lyrics).

telling all the rich folks anything they wanna hear, like it could be love

Like and could are the keys word here. It is like it could be love, they could love this person, it could be a possibility. Not a certainty.

This lyric aligns with our current understanding and characterization of the narrator: a swindler. It gives us more information though, and makes it likely to assume this was our narrator's intent at the party/wedding they met their true love at.

Being one line with, "perched in the dark', a metaphor for closeting, this reads as bearding and PR contracts.

I could be the way forward, only if they pay for it

They could be the rich folks way forward, what propels them, what benefits them, their answer, but only if they pay for it.

Given the money-seeking bandit we know our narrator to be, I interpret this instance of paying for it to be literally, to be physically paying in cash or some sort of monetary/status exchange. This brings to mind business exchanges/deals in regards to love: setting up relationships, potentially fake ones.

Being hidden in the dark high above, lying to rich folks about potentially being able to be someone's love and their way forward in life (because of who they are), but only if they will pay for it, paints the image yet again of a celebrity that is closeted and making contracts for both PR relationships and bearding.

What's also interesting is how often we have been reminded that the narrator's love is just like our narrator, which poses the questions: Are they lying to old rich people as well? Faking love to them as well? It's likely, so keep that in mind.

You're a bandit like me

There is strong diction with this lyric again, it invokes quite a bit of imagery as well. The word bandit sticks out, it's one that you hold onto.

This line, like many others, is giving further characterization and yet again reiterating that these two are the same.

A bandit is a robber, an outlaw, echoing what it means to be a cowboy.

eyes full of stars

Stars often serve as symbols of both hope and destiny throughout literature. Think Shakespeare's Julius Caesar: "The fault, dear Brutus, is not in our stars." The meaning of Shakespeare's phrase, in short, is that the fault was not with fate (or in their stars) but in their actions as humans.

It is so interesting to see the ways in which our narrator has changed over the course of this song, this line being one of the main displays. This cowboy never thought they could settle down, just traveling town to town, building no true connections, only swindling, Now they're starting to feel hopeful, starting to see a future and a life they likely never could see before. They are no longer the disinterested, apathetic person we met in the opening line.

Hustling for the good life, never thought I'd meet you here

Hustling in this context means to obtain by illicit action, swindling, cheating, but also working hard and doing so by focusing only on success.

The narrator never thought they would meet their match, never thought there would or even could be someone just like them. Not only that, but there, at the exact same place, doing the exact same thing.

It could be love

No more like. With this person, it is not like it could be love. It just could be love. Despite being almost the same phrase, this one carries much different meaning. The narrator has met their match, they're dreaming of a future with them now, but they're still this cowboy, the same old con artist that we know. They were just anxiously waiting by the phone, they're still hesitant on accepting this person and letting them in, but they're beginning to recognize… this could be love… ("Is this the end of all the endings?", King of My Heart)

We could be the way forward and I know I'll pay for it

We! No you, no I, it is now we. You and I together, we could be the way forward.

Not the way forward as in before, not propelling someone else to get the means the narrator desires. No more hiding in the dark either.

Together, they could be this incredible change, this way forward. They could pave the way in the industry, help break the chains of fellow queer people, but this narrator will pay and suffer the consequences of it. They are surely to face the backlash that comes from paving a new way forward.

The key word here is still could. They could be the way forward. But will they?

And the skeletons in both our closets plotted hard to fuck this up

This lyric has a double meaning. The first being, their past sins build and compound with one another, making this relationship difficult to continue and carry on. They are both cowboys with a history of conning, after all. The second being, the evidence of their queerness with past lovers combined makes staying closeted and having this secret relationship together hard.

And the old men that I've swindled really did believe I was the one

This line is quite straightforward I believe, adding more characterization to our narrator and showing how truly skilled they are at deception.

It also brings to mind a lyric from Don't Blame Me: "I've been breakin hearts a long time and toyin with them older guys, just playthings for me to use."

And the ladies lunching have their stories about when you passed through town

This other person is truly one in the same with our narrator, a cowboy just passing through town, causing ruckus, and leaving the ladies lunching with stories to tell of them.

but that was all before

I locked it down

The way this line ("but that was all before") is written, it is connected to the previous lyric and simultaneously both connected and separated from the next. The swindling of old men, the stories from the ladies lunching happened, yes, "But that was all before", all before our narrator locked it down. Before they entered this relationship, before they kept it secure.

Note: Locked it down? Like "love locked down"...?

2014:

2015:

2016:

Now you hang from my lips like the Gardens of Babylon

The Hanging Gardens of Babylon are known to have been an incredible feat of engineering and considered to have been an overwhelmingly beautiful place. People traveled far and wide to witness it in its glory. They are a part of the Seven Wonders of the Ancient World, but yet no archeological evidence can be found to prove its existence.

This phrase also brings to mind the act of "hanging onto every word" a person says, which I would say is a similar process to a fan attempting to analyze the words and lyrics of the person they admire.

So, this person hangs from her lips–she speaks these beautiful words of them, love song after love song flows from her about them, they are a constant. In the same ways this lover hangs from her lips, others (perhaps those hunters, if you remember) hang onto the contents that flow from them, but despite this, they cannot find this love, may not even believe in it, for there is no evidence to prove its existence.

This parallels something Taylor said in the reputation prologue: "When this album comes out, gossip blogs will scour the lyrics for the men they can attribute to each song, as if the inspiration for music is as simple and basic as a paternity test. There will be slideshows of photos backing up each incorrect theory because it's 2017 and if you didn't see a picture of it, it couldn't have happened, right? Let me say it again, louder for those in the back… We think we know someone, but the truth is that we only know the version of them they have chosen to show us. There will be no further explanation. There will just be reputation."

With your boots beneath my bed, forever is the sweetest con

Boots being beneath the bed is yet another double meaning. The phrase 'boots under the bed' and its variants is slang to refer to a sexual relationship, though especially an adulterous one. And then there is the direct, literal meaning:

With their lover's boots beneath their bed, tucked in and fast asleep at night, out of all their trickery and deception, out of any con, their forever together is the sweetest con of them all.

How could this be? How could their forever be a con? Let's recall the prior line about the Gardens of Babylon and all the way from the beginning, The Most Dangerous Game. Think of the necessity that exists to outwit these hunters to survive once one decides to jump into the fishbowl with our narrator. And outwit them, our narrator and their love did. ("Your love is a secret I'm hoping, dreaming, dying to keep", King of My Heart)

Side note 1: Taylor released the 'forever is the sweetest con' chapter on January 28, 2021: National Daisy Day.

Side note 2: Karlie Kloss included multiple charms of cowboy boots and hats on the friendship bracelets she purchased for her Eras concert in Los Angeles on 8/9.

I've had some tricks up my sleeves

Takes one to know one

You're a cowboy like me

Yet again our narrator is reminding us of the tricks they have had, maybe potentially even used on us as the listener (as hinted in the previous line). At this point in the song, our narrator is fully resigned. They know for a fact that they have met their match, their love is indeed just like them. They have found each other in the most unlikely world and through the most unlikely events, but found each other nonetheless.

Note: Remember that mental note of the gay cowboy movie, Brokeback Mountain? Bring it to the forefront now, because in June of 2019, Karlie Kloss and Joshua Kushner had their second wedding ceremony. And how did Derek Blasberg, Karlie's long-term best friend and chosen family, choose to describe the theme? As a crossover with Brokeback Mountain.

He went on to say via Twitter:

And I'm never gonna love again

I'm never gonna love again

At the resolve of the song, we finally have our answer. We know how the pair met, we followed their story; we finally know why our narrator is never going to love again. Despite thinking that this would just be yet another soul-crushing fling that ended before it began, the narrator now knows that they have met their person, that they are one in the same, that they are able see a future for themselves for the first time, that they've experienced a true transformation ("I once was poison ivy but now I'm your daisy", Don't Blame Me), and because of this, they know that they will never love another person again. It was "the end of all the endings" (King of My Heart). They've already found the one, and in that, despite a lifetime of conning, together created their greatest trick of all. And together, the cowboys will continue in their tricks, but not to each other, no, instead with each other. This is no longer a road for the lone traveler, but one that it is nice to have a friend on.

I do think these last lines, though, also have a double meaning. After all, throughout the course of the song, we have followed two narratives: the story of our narrator and their love, and the one in which our narrator is conning rich business folk. I think that while the final line is a recognition that they will never love another person other than their lover, it is also a statement to these business deals and exchanges in regards to 'love': they're done with them. With forever as their sweetest con, our narrator is never going to love again, at least in the public eye, unless they decide with their love that together they will be the way forward.

Ending note: I love, support, and wish all the happiness in the world to these two cowboys, regardless of their choice. Whether they are the way forward, whether they continue in their cons, either way, I will be here and thankful that they have chosen to share with us what they have, as it is truly the century's most beautiful and captivating love story.

One last note: I LOOOVE the way Taylor uses assonance and consonance throughout the song, giving the illusion of rhyming which is much like the swindler's behavior in this story.

#gaylor #kaylor #late stage kaylor #lsk #lgbetty #gaylor theory #cowboy like me #song analysis #song interpretation #taylor and karlie #gaylor swift #gaylor twitter #bigsurlor

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cursed-man-prayers · 2 years

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Before folklore came out, I would tell people that liking Taylor Swift was the straightest thing about me. Then folklore, evermore, and Red TV came out. As I saw the queer themes in those albums, I began seeing them in reputation, 1989, Speak Now, Fearless, and debut. The themes have always been there, fluctuating in subtlety but steadily increasing since 1989. So why did I think of Taylor Swift as so quintessentially straight? You guessed it: Compulsory heterosexuality and heteronormativity.

Taylor was supposed to be universally relatable. When she explained her songs, she refrained from using gender-specific language. Us. We. That person. Someone. And people that as “Me. I. A man. That guy I told everyone I was dating.” We were told she dated men, and a woman dating a man = heterosexual. No other options.

Even now, Genius will remove lyric annotations that imply her lyrics might not be about a man. Even with Hits Different, Question…? and Maroon. Taylor says reputation is about Joe and swifties believe her bc “Taylor wouldn’t lie to us!!!” even though there’s so many inconsistencies with the narrative that Rep is about Joe.

To say outright or even imply that Taylor might write songs about women because she likes women is met with scores of comments about how we “shouldn’t speculate on her sexuality!!! she said she’s straight!!! stop being disrespectful!!!!” But Taylor, as she has never said the words “I’m gay” has never said the words “I’m straight.” What she has done is align herself with. LGBTQ artists (YNTCD music video, Phoebe feat., posting support for queer musicians on social media, and, of course, the Pride parade that is her list of openers for the Eras Tour).

If Taylor didn’t people thinking she’s queer, she would’ve thrown in “as a straight woman…” in her speech before performing Delicate at multiple Pride events, when being interviewed about her advocacy during the Lover era, or at literally any point in her adult life.

Writing about women from the male perspective is queer. Her dressing in drag for the Man music video and showing herself in bed with a woman is inherently queer. The way she writes songs about her love interests’ girlfriends is queer. People bend over backwards to justify the gay shit she does, the same thing people have done for centuries with Sappho, Emily Dickinson, Louisa May Alcott, and so many sapphic artists throughout history. Taylor Swift is THE songwriter of our generation. She IS the music industry. But swifties, and hetlors all the more, would rather believe she is stupid and ignorant rather than intentionally using phrases like “hairpin drop,” “lavender haze,” “all the bricks they threw at me,” “you’re the West Village.” When she describes her muses as having scarlet lips, having hair that falls into place like dominos and braids in a pattern, gorgeous, it’s just because she thinks men are really pretty I guess (insert MetGala 2016 Joe photo). When she describes men as toys, playthings, “dudes who give nothing,” she’s being satirical. When she says “weird rumors,” that can’t possibly refer to rumors about marriage, pregnancy, or her having had multiple children during the pandemic. It’s *weird* to say that Taylor is queer. It’s weird and bad and gross. Why? Because people saying this believe being queer is weird, bad, and gross.

But it’s not weird. Being queer is beautiful, a gift. And that gift comes with a world that hates who we are. Of course Taylor is too soft for all it. And I admire her softness, that she continues to write vulnerable music. Midnights (esp 3am Edition and Hits Different) holds her loudest lyrics. She’s never beating the rumors and she doesn’t want to. Even if she never says the words “I’m gay/bi/pan/a lesbian,” the eardrum-shattering volume of her lyrics is more than enough for me.

#gaylor swift #gaylor #taylor swift lyric analysis #queer #question…?#maroon #hits different #i swear you could hear a hairpin drop #midnights

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bettyshoweduptotheparty · 6 months

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You're Losing Me Analysis

Ok, you got me, enough people messaged me with cute gifs and pretty pleases asking for this analysis to motivate me to finish it. So, here it is, my lyrical analysis of You're Losing Me.

I will stick to my interpretation of this song NOT being about a romantic relationship, the poll I did a while ago showed that most people interpret it to be about a romantic relationship breakdown. I will explain why I don't think that, but if you do, the main lyrical themes will still apply. (Colour coding of main themes at the end)

Before any lyrics, this songs starts with two sounds: A heartbeat and a massive sigh. Like, a really big one, you can even hear the inbreath. Something I've only ever experienced when someone is really, really exhausted and annoyed. I've sometimes made that noise when I'm standing in the pieces of something my children have broken, after I've told them a thousand times not to break it. The non-verbal expression of 'I f*cking told you this would happen'. So, before we even hear any words, I'm able to tell that this is about something that has happened before. We've been round and round this thing a million times. This breakdown has been a long time coming, a death by a thousand cuts if you will ;)

The heartbeat also sets the scene for the main lyrical theme before the first verse starts: A patient in an emergency situation, I envision a hospital room with a heart monitor. Over this heartbeat (and minimal production) we hear Taylor addressing her audience by saying

You say, "I don't understand," and I say, "I know you don't"

The You and the I are having a disagreement, but it's not so much an argument, as a miscommunication. They don't understand what she's saying but Taylor was already expecting that. Immediately, the first line confirms what the sigh was already indicating: This is not a new issue, we've been here many times before so Taylor is well aware that this communication isn't working. Then in the next line

We thought a cure would come through in time, now, I fear it won't

She introduces the medical theme in the lyrics with the word 'cure'. The metaphor is that the relationship that's being described here is the patient that's dying in hospital. This theme is incredibly present throughout the entire song, there is a constant 'brink of death' threat, with mentions of 'gashes', my face was grey' and 'too far gone to bring back to life'. And then, of course, the chorus is the culmination of this with the repetitions of 'Stop, you're losing me' and 'I can't find a pulse, my heart won't start anymore'. This gives me images of an emergency room situation where the patient is flatlining and the doctors are trying to revive them. Or maybe a battlefield, as the last line of the first verse introduces the secondary theme of war or combat with 'You might just have dealt the final blow'. Taylor has of course used the war imagery many times before when talking about conflict, such as in All Too Well ('I'm a soldier who's returning half her weight'), Call it What You Want ('I brought a knife to a gun fight'), The Great War, and the Archer ('I'm ready for combat').

So, despite the initial resignation, Taylor is fighting with the person/people she is addressing here. They are the one that's injuring the patient to the point of near death. And in the chorus she is telling them that, asking them to stop, because the relationship is dying. But we don't yet learn what she is asking them to stop doing. She does, however, show the problem in the relationship when she says:

Remember lookin' at this room, we loved it 'cause of the light Now, I just sit in the dark and wonder if it's time Do I throw out everything we built or keep it?

It's a WE versus I situation: We used to love this room, but now I (and only I) am left sitting alone in the dark. And only I get to make the decision about what to do with all the stuff we built together, because you're not even here to sit in the dark with me. Also, notice the light versus dark comparison. You are only there for the light (easy) parts, and not the dark (hard). In that context, I am inclined to interpret the room in this line as her stages and the light being the spotlight. We loved standing in the light together/You loved seeing me in the light, but now you've left me in the dark. This is why I really think this song is about the relationship with her majority fanbase and not a romantic relationship. Since 1989 she's written about her romantic partner in a way that makes it clear that this person is with her through thick and thin, on reputation we had End Game and New Years Day, the ultimate song about being there after the party when the glitter fades and it's not glamorous anymore, and in CIWYW she literally says her lover's 'starry eyes sparking up my darkest night'. So, I don't think it's her partner who is leaving her in the dark here, it's the fans. And the 'everything we built' is of course the fame/sold out stadiums etc. And that theme continues in the next verse:

Every morning I glared at you with storms in my eyes How can you say that you love someone you can't tell is dyin'?I sent you signals and bit my nails down to the quick My face was gray, but you wouldn't admit that we were sick

Now the picture is becoming clearer as to what the 'you' here is doing that Taylor is asking them to stop, or better what they're NOT doing. She's glaring at them, sending signals and biting her nails, using all forms of non-verbal communication, but they're not being received. Or she's being willfully ignored. The 'I sent you signals' is a screaming parallel to 'I gave so many signs' from Exile and 'sending signals to be double-crossed' from Evermore. And I think in all three cases, it is referring to queer flagging. And just like in High Infidelity (a similar song thematically) she says 'There's many ways that you can kill the one you love/ the slowest way is never loving them enough', here she's saying 'How can you say that you love someone you can't tell is dyin'?. Both boils down to the same thing: Your ignorance is killing me and it's a slow and painful death. She ends the verse on the medical theme which has now slightly shifted to Taylor being the dying patient ('My face was grey' - corpse) and the relationship being sick. Over the chorus we still hear the heartbeat though, so she's dying but she's not dead yet.

Let's talk about the bridge. This is juicy, as Taylor's bridges always are, but this one, of course, had the one line that sent all the swifties into an angry rampage against Joe Alwyn. But we'll get to that. The first line is in fact my favourite:

How long could we be a sad song 'Til we were too far gone to bring back to life?

She calls the relationship a 'sad song'. And that's obviously an interesting thing for a songwriter to say, and I've seen many good interpretations of this line, but mine is this: Taylor is the girl who made her name as the young country singer who writes sad breakup songs about her past relationships. And she owned that for a while, until she openly discussed how much it trivialises her writing and that songs are more than just the person she's writing about (not as simple as a paternity test etc.), but have people stopped making her songs about men? When the Joe breakup hit the news, wasn't the first thing the swifties said 'Oh, the next album is going to be soooo sad...."?? So...for some people she still is, and will always be, just the girl who writes about breakups. And she's saying to those people 'how long can this relationship last if that's all you'll ever see me for?' She also, once again uses the medical theme of 'bringing the relationship back to life' when it has in fact died multiple deaths already. But this time it might just be 'too far gone' to be revived.

I gave you all my best me's, my endless empathy And all I did was bleed as I tried to be the bravest soldier Fighting in only your army, frontlines, don't you ignore me I'm the best thing at this party (You're losing me)

She also continues the war/combat theme with being the 'bravest soldier' who is bleeding whilst on the frontline 'fighting in only your army'. This is also important. Taylor is the soldier but she's not fighting for her own cause, she's fighting in the other person's army. She's making herself bleed, for the other person's sake. Much like a closeted gay person pretending to be straight for the mass appeal. It's making me bleed for your benefit, but you don't even notice, DON'T YOU IGNORE ME!! And then we get to the ultimate bait and switch line:

And I wouldn't marry me either A pathological people pleaser Who only wanted you to see her

Where you will all shout at me 'How can it not be about a romantic relationship, it has the line about marrying!!!'. Relax, I think this is intentional. What an easy way to make the whole song sound like it's about a breakup with just one line when the rest of the song suggest something else (to me at least). I don't see this as being about a literal marriage proposal, more like a 'I wouldn't choose me either'. Very much along the lines of Anti Hero, I'm the problem, why would you choose me, but I'd still love it if you did. And she even says in the next part 'I have nothing to believe, unless you're choosing me.'

And I'm fadin', thinkin'

(POV changes, addresses self:) "Do something, babe, say something" (Say something) "Lose something, babe, risk something" (You're losing me) "Choose something, babe, I got nothing" (I got nothing) "To believe, unless you're choosin' me"

So in the imperatives, the direction of address changes and she's now thinking to/addressing herself with these commands: 'DO something, SAY something, LOSE something, CHOOSE something, RISK something.' Almost like she's trying to jumpstart herself into action. This all screams BE BRAVE to me, especially the 'say something' because in the previous verse she was communicating in all these non-verbal ways (glaring, signals, nail biting) and that wasn't working. She's telling herself to be brave and SAY something, make it unmistakably clear, but that may well mean risking something and losing it. Also, choose something babe, you can't play both sides forever. In the last line she then addresses the audience again by saying 'I have nothing to believe unless you're choosing me.' She wants to be chosen by her audience as her authentic self, not as the 'sad song' girl. Once she's said all those hard hitting truths, what follows is a massive pause, a moment of total silence. Like the moment when you've finally said all you wanted to say and now you're waiting for the reaction. And when you almost think the song has ended, we get the heartbeat again and one more chorus.

SILENCE You're losin' me Stop (Stop, stop), you're losin' me Stop (Stop, stop), you're losin' me I can't find a pulse (HEARTBEAT STOPS) My heart won't start anymore

In this last chorus the Stops are now echoed twice to increase the urgency in this plea, it sounds almost like she's saying 'stop, stop stop! It's really about to be over!'. And it is, as the heartbeats stops on the word 'pulse' and the patient has finally died. She concludes on what we have just witnessed 'My heart won't start anymore' but there is no 'for you' this time, because the relationship is dead now. No more coming back this time.

Thematically, to fit into the concept of midnights, this could be a song set in early 2019 when she was planning her coming out, or it could be more recent, as an internal counter piece to Anti Hero. I hope this lived up to what you hoped for, people who asked so nicely :)

blue - medical theme/imagery

orange - direct address to audience

green - war/combat theme

#taylor swift #gaylor #lyric analysis #you're losing me #ts midnights

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badgalazzie · 25 days

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The Tortured Poets Department is about Phoebe Bridgers - Phoeblor🌈

also, if you’re not familiar with phoebe - she dated paul mescal who’s BFF with joe alwyn (you can google their lore)

another thing - this thread about parallels between phoebe’s songs and TTPD

and THIS - beginning of loml sounds like phoebe’s song

#gaylor #gaylor swift #phoeblor #phoebe bridgers #ttpd #the tortured gaylors department #lgbetty #gaylor analysis #gaylor theory #mine #badgalazzie

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gaylor-gremlin · 4 months

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analyzing taylor swift’s 'tim mcgraw' reveals a complex interplay of gender norms. let’s unpack the song through judith butler’s gender performativity theory.

butler’s theory says that gender isn’t inherent but performed, shaped by societal norms and expectations, challenging traditional notions of gender identity.

this song at first appears to conform to traditional gender roles. the opening of the song establishes a conventional male-female dynamic, reflecting societal expectations of femininity.

butler's theory suggests gender is an ongoing performance. in 'tim mcgraw,' swift’s portrayal of longing and nostalgia fits into this traditional feminine role, but she immediately subverts expectations by calling what “he” said a lie.

the subsequent shift in pronouns from 'he/him' and 'my' to 'you' in the song is more than just a narrative device. it’s a deliberate move that transitions the story from a personal memory to a universal, inclusive experience.

this use of 'you' invites listeners of all genders and orientations to place themselves within the narrative, challenging the binary and exclusive nature of traditional gender roles.

by broadening the song's appeal, swift subtly questions the rigidity of these roles. this aligns with butler’s concept of gender as fluid, shaped by societal interactions and individual experiences.

the dynamic interplay of gendered pronouns in ‘tim mcgraw' showcases swift’s nuanced understanding of gender performativity, blending traditional narratives with progressive concepts.

thus, swift's songwriting in 'tim mcgraw' serves as a subtle yet powerful commentary on gender norms, illustrating the evolving nature of identity in modern society.

this analysis highlights the depth of swift’s work, even at a young age, showing how popular music can be a platform for challenging and redefining societal constructs of gender and identity.

#judith butler #gender performance #gaylor analysis #gaylor #friends of dorothea #taylor swift #lgbetty #queer theory #sapphic

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thenewromanticspod · 8 months

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I CAN SEE YOU EPISODE OUT NOW

#taylor swift #gaylor swift #gaylor #gaylor community #tswift #swifties #ts #taylor swift podcast #kaylor #taylor swift theories #it’s gay btw #gaylor podcast #gaylor analysis #gaylor proof #queer podcast #fandom podcast

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merp-blerp · 24 days

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Part 2 of A Gaylor interpretation of "The Prophecy"

I had more Thoughts™ that I initially left out for length, but I'd like to elaborate in sections. Special thanks to @mamataylovesrubbi for being so friendly. This community is so lovely.

TW: Brief talk of self-destructive behavior and suicide near the end.

Part 1 here

Overblown Analysis Under the Cut ↓

Artemis/Diana

Some things about Artemis/Diana that I left out of part one I left out were that 1) Artemis is also the goddess of the hunt and animals. I think that tidbit adds to the fable connection, as fables are often stories about animals. When it comes to the hunt, songs like WAOLOM and The Albotros possibly being about Taylor planning revenge on her closet-ers really scream huntress. Artemis can also become a deer, a somewhat surprisingly non-vicious animal for a huntress, if she pleases. "I've been the Archer / I've been the prey." I think this could portray Taylor's strengths and weaknesses. 2) Artemis is a virginal goddess, never having any male lovers in her stories. This doesn't necessarily make Artemis a sapphic goddess, even though I've seen that interpretation, but it's pretty telling that Taylor would align so closely to a goddess with that trait. 3) Artemis/Diana was also the goddess of the moon (somewhat, it's a bit complicated, but that's Greek mythology for you). Fits the themes of Midnights, with Taylor being Midnight (Rain) and her lover being Sunshine. Though that probably shouldn't be taken too literally, as Apollo, god of the sun, is Artemis's twin brother. Trust him like a brother, yeah—

2. Vocalizing

Taylor's vocalizing after "...tell me it'll be okay" reminds me vaguely of the vocalizing in "My Tears Ricochet", a song, like this album, alludes to Taylor dying.

3. "But I looked to the sky" and "I've been on my knees"

With all the talk of sky, I wonder if maybe "Bigger Than The Whole Sky" might be about failed coming outs. I don't know if this is something others thought have already (probably), but I never thought of it before. Meanwhile, the repeat of being on her knees makes me think of "Would've, Could've, Should've". I've mentioned before that I'm open to that song being actually about JM because it wouldn't surprise me if she tried dating dudes in some way early on in her career, whatever that would mean. However, I'm open to alternatives too. With my analysis of Taylor's Eve being bitten by the serpent/Devil, maybe the serpent could be the Devil from "Would've, Could've, Should've". Maybe the Devil could be The Professor from my "The Manuscript" analysis. I'm leaning toward that Devil being her old label.

4. Throttle

A throttle is several things. It can be something to give machinery fuel. It can be a verb, you can throttle something, aka kill it by strangulation. By "hand on the throttle," I think Taylor was saying she was ready to not only fuel/validate her truth, but kill her past lives. I get this vibe that TTPD might be for TS12 what Reputation was for Lover. Just like with Rep, she's killing the old Taylor(s) that hid her queerness before she steps into the daylight with what comes after. Makes me understand all the chockers and high-neck collars she's been sporting for this era.

5. "And it was written"

I feel like I grazed over this part of the line a bit. What was written? It could be Taylor's lyrics or her 100 thrown-out speeches. She wrote them, but wasn't heard anyway, cursed. Or it could be the word written in the Bible. (In my opinion, shit) translations of the Bible call for all kinds of things to happen to queer people, and has so for years. Not that many though because the word homosexual didn't even exist when the Bible was first scribed. Taylor was cursed before she was even born. Possibly like Eve. Didn't Eve have control over whether she ate the fruit or not? Do queer people have control in who they love? Christian will debate forever.

6. "Let it once be me"

One reason why Taylor wasn't out from the get-go obviously has to do with where her career began and under what industry she was entering. An underaged, famous, sapphic country singer sounds a bit wild now honestly, imagine in 2006! The world would not have been ready, unfortunately. But why can't Taylor come out now? Well, in "WAOLOM", Taylor sneers, "I am what I am 'cause you trained me". She was raised to closet for her whole career, maybe even longer, who could know? And of course, "Old habits die screaming" (from "The Black Dog"). After this album, however, I feel like she's gearing up to free herself. Still, there are so many people younger than Taylor who come out super casually, like Reneé Rapp, Girl in Red, etc, without games or clear fear. Taylor probably sees them and wonders why she couldn't have/had that freedom. Maybe when she says specifically, "redo the prophecy" rather than "change the prophecy" she wishes she could go back in time and somehow make it so she could've come onto the scene out and proud way back then.

7. "like fools in a fable / Oh, it was sinking in"

I think Taylor started feeling like she'd never be free as she began to write Folklore. Of course, she knew the plan didn't work before that in 2019, but as she created Folklore and Evermore, she realized she was anywhere near where she wanted to be in 2020, playing the same games. It sunk in with that. That's why Folklore, Evermore, and even some Midnights songs can sound so hopeless. As an LSK, I don't believe it was due to a breakup, but more closeting. All the albums after Lover seem to have minimal color because she can't be herself.

8. "My last coin"

So, I mentioned in part one that Taylor had/has referenced self-inflicting harmful actions towards herself in many songs. She also mentions poison in this song. It got me thinking about Romeo and Juliet and how that play goes. Taylor, with the "Poison blood from the wound of the pricked hand" seems to be combining Romeo and Juliet's death, Juliet getting stabbed or "pricked" and Romeo drinking poison. Maybe this symbolizes that, even though when she was younger, more naïve and optimistic, she exclusively identified with Juliet and changed her ending in "Love Story", now she identifies with both Romeo and Juliet, even sometimes taking on the "male" role in her songs (e.g. The Heartbreak Prince and JaMEs). A part of me wonders if that could be a comment on her gender identity too, but that goes a bit over my skill level to analyze. But it feels sad that Taylor used to change the fates of Romeo and Juliet and now she's honest about what happens to them. As I said before, I want nothing but good for Taylor. it will be okay. 🤍 ✌️🌈

Alrighty, I think I got it all out of me. Watch me think of some more shit with this song. 🙄😅

#taylor swift #the prophecy #gaylor #the tortured poets department #gaylor swift #friend of dorothea #lgbetty #gaylor theory #song analysis

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daisyswift3 · 1 year

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You’re Losing Me Analysis

I wanted to do a short analysis on You’re Losing Me. My first impression of this song is that it’s another breakup song addressed to her fans in allegorical form like high infidelity (see this post). There are multiple lyrics that substantiate this interpretation. It’s horribly ironic that swifties think this is a song abt Joe when it’s really abt them and their refusal to SEE her. I’m more certain than ever now that the eras tour is a goodbye to her fans before she comes out

You say “I don’t understand” and I say “I know you don’t” // This is reminiscent of the bridge of Dear Reader. These desperate prayers of a cursed man spilling out to you for free but darling, darling, please, you wouldn't take my word for it if you knew who was talking. There is a communication issue between her and her fans. Her fans don’t know who she really is and are gonna be really confused when she comes out bc they thought they knew her

We thought a cure would come through in time…Now I just sit in the dark and wonder if it’s time // This parallels the archer. Should she stay in her dark closet or step into the daylight? Dark side, I search for your dark side. But what if I'm alright, right, right, right here? Also the mention of time makes me think of “meet me at midnight” and all the clock/time imagery she’s been using lately alluding to a countdown. Spring breaks loose, the time is near / Are we only biding time 'til I lose your attention? Her Cinderella facade is abt to expire at midnight

The heartbeat is an obvious callback to wildest dreams which she includes twice in the setlist, once in the 1989 era and once in the seven spoken word poem which again makes use of this Cinderella metaphor. This poem essentially tells her fans “You can cling onto this idealized version of me in my Cinderella dress or you can meet the real me at midnight”

Do I throw out everything we built or keep it? // Again the archer. Should she come out and potentially ruin her career and her relationship w her fans or stay in the closet? She chose the first option and burned the lover house down. Dear reader burn all the files, desert all your past lives / He's gonna burn this house to the ground…So yeah it’s a fire it’s a goddamn blaze in the dark / 'Cause there were pages turned with the bridges burned. Everything you lose is a step you take. So make the friendship bracelets, take the moment and taste it. You've got no reason to be afraid

You might have just dealt the final blow // Don’t Blame Me transitioning into LWYMMD. Her singing “The old Taylor can’t come to the phone right now. Why? Because she’s dead” while all the glass closets keeping her past selves trapped shatter and they walk out finally freed. The Anti Hero mv where her daughter in law (representing the hardcore swifties) is the person that kills her and the younger son (gaylors) points this out which enrages her and sparks a brawl. Happiness, which includes a reference to the Cinderella/midnight metaphor, being a eulogy to the old Taylor and her relationship w her fans—“dappled with the flickers of light from the dress I wore at midnight, leave it all behind”

These lyrics make it pretty clear who she’s talking to imo. How can you say that you love someone you can’t tell is dying? I sent you signals // Sending signals to be double crossed / You didn’t even hear me out, I gave so many signs so many times

Now you’re running down the hallway // Dear reader, get out your map, pick somewhere and just run

I gave you all my best me’s, my endless empathy // After giving you the best I had, tell me what to give after that

Fighting in only your army, frontlines // Combat, I’m ready for combat / So yeah it’s a war, it’s the goddamn fight of my life

A pathological people pleaser who only wanted you to see her // All of mirrorball and Nothing New. The Dear Reader bridge. They see right through me. Can you see right through me? The delicate mv. Giant Taylor begging the audience to see her in the eras tour Anti Hero performance and storming off after being ignored

Gif courtesy of @iwanthermidnightz

Lastly this track follows Dear Reader and when read together it sounds like she’s telling her fans goodbye

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peterswonderland · 18 days

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Introduction

By now, we all have our opinions of The Tortured Poets Department: The Anthology. It has received mixed reviews from critics to fans alike.

In the Gaylor community, many have dubbed it her “straightest album,” which I am inclined to agree with. BUT.

If you do not like Gaylor or Swiftgron content, feel free to block and/or keep scrolling!

I’ve seen and read theories for years. In this post I will be referencing the Swiftgron Masterpost. I’m also an avid listener of the What I Will Say podcast. (No one affiliated with the podcast is involved with this post, and for all I know might disagree with it entirely. However, I will be referencing the masterpost at points, and it is only fair to give credit where credit is due.)

This is celebrity gossip, and everything is alleged. I do not know Taylor or Dianna. This is alleged (don't sue me, tysm!)

Peter is…Dianna?

Halfway through my first listen of “Peter,” I was fully convinced this song was about Dianna. That Peter was Dianna.

First, I will go through the lyrics that most pointedly seem Dianna-coded to me.

Forgive me, Peter My lost fearless leader In closets like cedar Preserved from when we were just kids Is it somethin' I did?

Taylor references closets in “seven” on folklore:

And I've been meaning to tell you I think your house is haunted Your dad is always mad and that must be why And I think you should come live with Me and we can be pirates Then you won't have to cry Or hide in the closet

Cedar closets are used as a "safe haven" to put valuable items in. The closet has preserved everything from when Taylor and the muse were "just kids" (likely meaning their early twenties.) Shoutout to Kristin in the WIWS Discord for mentioning this!

Credit

Another interpretation I found on Genius mentioned that the closet line in “Peter” could also be a reference to another fantasy story, The Chronicles of Narnia, wherein stepping into a closet revealed a new fantasy world. This fantasy narrative ties in with “Peter”/Peter Pan and “Wonderland”/Alice in Wonderland, which we’ll get to in a second.

The line “And I think you should come live with/Me and we can be pirates” can also be connected to Peter Pan. Peter Pan and the Lost Boys often have to fight off Captain Hook and his pirates. There are also theories that pirates/Captain Hook are old Lost Boys. TL/DR: Old lost boys are either killed by Peter Pan or can choose to become Lost Boys…at least by these fans’ interpretations. A weak link I know, but still an interesting one.

“We can be pirates” because you’ve been forced to grow up too quickly…? Hm.

Further connecting “seven” to “Peter” is the idea of being just kids, although in “seven” it seems to be more literal, while in “Peter” she might be referring to when she and Dianna actually met: Taylor was ~20 years old, and Dianna was ~24.

From “Peter”:

Are you still a mind reader? A natural scene stealer? I've heard great things, Peter But life was always easier on you Than it was on me

Dianna is stunning, and has often been referred to as a scene stealer.

Credit

“When we cast Dianna as Quinn, she ruined the part for me,” Murphy says. “She was supposed to be the Cybill Shepherd, Last Picture Show cunt, so to speak, but she humanized it. She can cry at the drop of a hat. So now her character has a conscience, a soul and great vulnerability.” Ryan Murphy, Rolling Stone. Credit

Credit (Shoutout to ellie from the WIWS Discord server for bringing the TCA nominations for "Female Scene Stealer" to my attention!)

Credit