#jack antonoff if you’re reading this i love you
slowmotiondoublevision · 2 months ago
the possibility of jack and aaron on vault tracks has me like
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grrmartin · a year ago
I actually lived in Chinatown during uni so it’s very easy to self insert and imagine Bruce Springsteen is singing to me personally
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princessofgayskull · 8 months ago
Hi sunflower, what's your thoughts on T Swift's Betty being a catradora song???
Me, taking a break from spop to focus on my mental health and setting better boundaries:
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Me, reading this ask:
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This ask woke me up from like a deep, sleeping beauty type slumber, not joking. I don’t get asked to talk about Taylor Swift often, despite being a fan of hers since I was nine years old (I’m 22 now *wink*) and we are about to find out why. But I pride myself on taking any fiction piece of media I interact with and connecting it somehow to Taylor Swift. I can do so to varying degrees of success (usually depends on the ships and romance of the world) but there are so many songs of Taylor’s that have just fit Catradora so well for me, both in and out of canon. 
Some of my favorite examples: out of the woods (AND IT KEPT ME UP AT NIGHT WHEN NOELLE SAID THIS WAS HER TAYLOR SWIFT SONG FOR CATRADORA LIKE GAH CASUAL TS LISTENERS WILL NEVER UNDERSTAND) bad blood, lwymd, don’t blame, dancing with our hands tied, the archer, breathe, you’re not sorry, the way I loved you, forever & always, should’ve said no, safe & sound- I could go on.
But I won’t because I wanna stay on topic and talk about betty. Now I have a number of songs from the folklore/evermore series that are for me catradora songs (we’ll get to that in a minute) but this one is… challenging. Because I could be like “yes, because [insert casual reason here]” or “no, because [insert casual reason here]” but I can’t because Taylor feeds her children well and there’s several aspects of this song I feel like should be considered.
This biggest one to be considered, for me, is the love triangle aspect. Folklore features at length the betty/james/Augustine love triangle, each of them having one main song on the album from their POV. Betty's is cardigan, augustine’s is august, and james’ is betty. (also I’m going to throw out the gender component for a second; I know taylor says that Betty is about a guy’s apology and I totally vibe with her reasons why she wanted to write a song about a boy apologizing BECAUSE HOW GREAT WOULD THAT BE?) The love triangle makes the application of Catradora iffy at best. Because it’s like, who would be who? I am going to go out on a limb and assume that you’re seeing Catra as James? I think that personality wise, Adora as Betty and Catra as James is not a stone’s throw away from fitting actually really well. Adora’s canon journey is one of coming to realize “I know what I want and I know that it’s okay to want it” and a big part of Catra’s arc is her being like “Well shit… there goes my plans. Kind of feeling like a dumbass rn” especially in s4/s5. 
(That s4/s5 distinction is important; I’ll show why in a second) 
But for me, there’s no augustine. Or one that’s obvious anyway. I never imagined that either Catra or Adora dated or even had any inclinations with anyone else during the five season run- that’s just my personal opinion, people are completely welcome to feel free to disagree. I don’t think Catra acted even out of distraction with Scorpia or DT, and I think Adora was so focused on being She Ra that when she wasn’t thinking about failing/abandoning Catra when she alloted time to do so, she was thinking about the crushing weight of her responsibilities. So you know, not that much time to get back out there. So I rule out what causes James to apologize in the first place- cheating.
Side note about James cheating- I’m pretty sure Taylor confirmed this, in the long pond studio sessions doc, when she’s telling Jack Antonoff (MY BOY JACK) and Aaron Dessner ( GRAMMY AWARD WINNING KING) that James “was a fool!” And James did sleep with Augustine as confirmed in august, but cardigan makes it seem like he was definitely dating Betty before the summer. Maybe Taylor took inspiration from friends and they “were on break.” I also believe that the kiss in the Heart is the first kiss, that Catra and Adora were never ‘together’ together before Adora found the sword and defected (again, that’s just an opinion, but Adora just looks so wonderfully gobsmacked), so…
We can rule out cheating, and I think we can accomplish this and still reserve the essential meaning of the song of “I did something wrong, I see that now, I apologize for doing it, and I still love you” by widening the lens of what the “did something wrong” was (or “did something bad” you know *wink*). In that wider lens really you could fit either Catra or Adora into the song, but I’m still going to assume Catra is the James in this scenario based on how much of her redemption arc is formed around her refusal to say sorry and then eventually doing so. Of course there is no standing your porchlight but rather standing while wrestling a bunch of murderous clones…. Hmm….
But there are some stupid friends! I wholeheartedly believe Catra is James because of the dissing of Betty’s friends. That’s what Catra does to Bow, Glimmer and the rebellion et al., for most of the show and by the end of s4 she has no friends for Adora to even mock (terrible and cruel of me, I know, but it’s true). Also I know people are like “he called her friends stupid and then expected betty to take him back?” but I scream sing the line “WILL YOU KISS ME ON THE PORCH IN FRONT OF ALL YOUR STUPID FRIENDS?” every time. It brings me serotonin. 
Along those lines we can ask “Who’s Inez?” in this situation. When I think gossip no one from the show really comes to mind, well, expect for Double Trouble. But Double Trouble doesn’t ever speak to Adora about Catra. This happens vice-versa, and in Betty, James reveals that Inez told Betty he cheated on her. 
I want to say something controversial… Glimmer comes to mind when I think “who’s the Inez?” And this is based off of two things: 1) Inez’s closeness to Betty, and 2) Inez drags James out to dry, rightfully so. And when I think of that I think of Glimmer screaming “Do one good thing in your life!” directly in Catra’s face. James gives Inez a bad wrap in Betty. Not cool James. 
Of course there’s the pivotal, “would you tell me to go fuck myself?/ or lead me to the garden?” To me this a fun way of showing there’s vulnerability to what James is doing, so automatically I’m led to is the scene where Catra asks Adora to stay, or each time in s5 when Catra risks, basically an identity crisis to let Adora in how she really feels, but there’s always the potential that Adora could spurn her by not returning her feelings or rejecting her outright. 
I think the best argument that can be made for “is betty a catradora song” can really be encapsulated by the lyric(s): “the worst thing that I ever did is what I did to you” and “the only thing I wanna do is make it up to you.” That is what about the song SCREAMS Catra to me. And yeah, it could be argued that Adora hurt Catra pretty brutally (Shadow Weaver makes that point EVEN THOUGH SHE HAD NO RIGHT TO) that she messed up by abandoning Catra- but Adora feels guilt for... literally breathing. Adora is the quintessential embodiment of “pick your battles, no that’s too many battles, put some back,” but Catra picked one battle first and foremost (yes, she had a few others but this was the one) and that was Adora. Everything that motivated her was surrounded around a narrative of surpassing Adora for a multitude of reasons, and because of that she pretty much hurts Adora every chance she gets after Promise. Adora is really Catra’s first casualty, it makes sense that she has to be her first apology. And I think that after being vibed checked back to back by DT and Glimmer and realizing “oh hey fuck, I’m still in love with her” and then almost dying just to not die because Adora saves her, I think much of Catra’s motivation shifts to “how to do I get Adora to want to stay?” 
That’s my logic for how Betty could be a catradora song in canon. Now not all of my Taylor associations are with canon catradora, many of them do belong to uws catradora, because it’s a lot easier to apply the more modern details of Taylor’s songs to a modern au. The song Breathe is big that way. (it’s in Upper West Side, it’s the song Adora listens to and cries to after that first ride, I just never mentioned that it was taylor because my conditioned reaction to bringing up taylor is to have my head bit off with someone’s semi incorrect and slightly sexist opinion that I never, ever ask for) And this ask got me thinking about what it would look like if I applied not Catradora to Betty, but Betty to Catradora. What would it look like if Catra skateboarded and wore black lipstick, Adora wore a cardigan and they had homeroom together until Catra really messed up? What would it look like if they were seventeen when they admitted their feelings for each other instead of 21? What would it look like if they spent a summer fighting but dreaming of each other? What would their love story look like if Catra and Adora were in that town where Taylor envisioned this “same event that affected three people in different ways?”
I think it’d look something like this. 
what do you guys think?
quick but INCREDIBLY IMPORTANT thank you to @gimme-tea-bitch for helping me with this, being my beta, and listening to me talk about folklore/evermore.
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ifuckinglovestvincent · 8 months ago
NY TIMES: St. Vincent Is Trying to Understand People
As she releases her sixth album, “Daddy’s Home,” the musician expounds on the lengthy documentaries, Janet Jackson bust and Joni Mitchell album that feed her creativity.
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By Olivia Horn
May 4, 2021, 10:00 a.m. ET
Despite the hardships of the past year, Annie Clark’s sixth studio album came together with remarkable ease. “Maybe I earned a fun one,” Clark, who records under the name St. Vincent, mused. “Usually there’s some kind of ‘Dark Night of the Soul’ moment. And there just wasn’t.”
Clark, 38, spent much of 2020 shuttling between her home in Los Angeles and her family’s in Texas. But the record (“Daddy’s Home,” due May 14) was born at Electric Lady Studios in Manhattan, where she and her repeat collaborator Jack Antonoff landed on 1970s New York as their lodestar. The resulting songs ease away from the angular art-pop of “Masseduction” from 2017, opting for gentler, slouchier rock. The relative softness corresponds to Clark’s effort to treat the troubled, complicated characters that populate her record with care. Among them are the broke and lovelorn protagonist of the lead single “Pay Your Way in Pain,” Nina Simone, Marilyn Monroe and her own father, whose release from prison in 2019 inspired the title track.
Clark confessed that she did not meet her quarantine goals of learning conversational Italian or writing a tour bus cookbook, but she did read some books about the gulag. Calling from her “utilitarian” Los Angeles studio, she detailed 10 of her favorite things to watch, read and hear — many of her picks reflecting a fascination with history and an eagerness to unpack social and aesthetic violence. These are edited excerpts from the conversation.
1. William Scott Sculptures
I discovered William Scott’s work through David Byrne, at his place in New York. And when we were on tour with “Love This Giant,” we went to Creative Growth in Oakland [a nonprofit that supports artists with disabilities]. I had my eye on this bust of Janet Jackson. And then when I was back, I went and bought a bust of CeCe Winans. So I have these busts in my library.
A lot of the artists whose work I collect are people who are marginalized from society in one way or another. What I like about it is that the expression feels very pure. These are people who might not have all of the tools at their disposal or the education, or any of that, but they are compelled to make work. That kind of irrepressible urge in people — that I just find so inspiring and heartening and cool. And it’s completely divorced from any of the status of the quote, unquote, “art world.”
2. Adam Curtis’s Documentary Series “Century of the Self”
The way his work has been described is as emotional history or impressionistic history. The lines that he draws between events and trends are not exactly “A plus B equals C,” but the general thesis is like, “the collective consciousness is saying this.” As a writer, I’m always trying to understand systems and understand people.
3. Ric Burns’s “New York: A Documentary Film”
I used to live in a rent-controlled place in the East Village. But it was shady how I lived there, so I was never able to get utilities in my name. I lived there for 10 years and I didn’t have the internet, so I had DVDs. I used to go to Kim’s Video all the time and buy DVDs so when I would wake up hung over and be like, “Oh, just can’t quite make it out of bed today,” I would have something to put on. If I wanted to watch something it wasn’t like “Netflix and chill.” I associate that Ric Burns documentary with being either hung over or tired or both, and watching it in my bed.
4. Joni Mitchell’s “Hejira”
This is one of those Joni Mitchell records that I didn’t hear until I was in my early 20s. Everybody knows “Blue” and “Ladies of the Canyon,” but this is when I became a Joni Mitchell fan, with a capital F. This record’s just so deep. Her lyrics are … Cubist. I’m thinking of the one where she’s like, “In the mirrors of a modern bank/From the window of a hotel room.” And it’s all wiggles, you know? It’s like water, that record. And I don’t mean to make it about me, but I feel like I can understand some of the things that Joni talks about, like the refuge of the road, or watching the world from an airplane or being in a hotel room.
5. Maggie Nelson’s “The Art of Cruelty”
This is one of those books that I picked up six times and would get through a few pages and be like, “This is really brilliant,” but it felt impenetrable at first. Then I had this one weekend where the clouds parted, and I just could see it and plowed through it. It talks about the ethics of being an artist in a way that is so brilliant, and so not orthodox or finger wagging. I think it’s one of those books you can revisit at various points of your life.
6. Her Own STV Signature Series Guitar
Part of it was inspired by Klaus Nomi’s tuxedo. And I wanted it to hit my sternum in a particular way. I am cis female, so the way that it hits the sternum and then has a little bit of a cutaway, it makes room for my breast. But just one of them. There’s only room for one! I love it. It’s the only electric that I play, with very rare exception.
I saw people’s pictures of it from the Met [in the exhibition “Play It Loud: Instruments of Rock & Roll”], because I never got a chance to go and see it in real life. Most of the time, I just kind of like quietly put my head down and work — and then every once in a while, I look up and see something that I’ve made, and it’s mysterious that it’s in the world.
7. Wim Wenders’s “Pina”
I love Pina Bausch’s work. I was really inspired by “The Rite of Spring,” where the virgin dances herself to death. There’s this one particular movement that was like, drawing your hand above your head, and then when you pull it down, your elbow goes into your stomach — sort of like you’re open and then you’re impaling yourself. It just moved me to tears. So when I worked with my friend Annie-B Parson to choreograph the Digital Witness Tour, I was like, “Can we please incorporate this?” Another big thing: I was obsessed with falling. That was another big part of the Bausch work. How do you fall and make it look violent but not hurt yourself? I’d get a rehearsal room with Annie-B and just practice falling.
8. Vintage RCA 77-D Microphone
It’s an old ribbon mic, and it just sounds so good and warm. I know these are words that might not mean that much — when people describe sound as warm, it’s reductive. But it makes things sound and feel true. I don’t mean that it has perfect fidelity. What I mean is that when you sing into this microphone, what comes back at you feels honest. My friend Cian Riordan, who mixed “Daddy’s Home,” hipped me to this mic.
9. “Hidden Brain” Podcast
There was one recently about the idea of honor culture. You know, if someone is insulting someone’s masculinity and masculinity is tied up with honor, you have to avenge that insult. A lot of these “honor societies” end up with more violence because you have to save face and there’s less ways to assimilate conflict. The premise of so much of “Hidden Brain” is that we live by the stories we tell ourselves. And as a storyteller, that idea is very liberating to me, because if we live by the stories we tell ourselves, it means that when we get new information, we can assimilate that information and tell ourselves new stories.
10. Piazza della Signoria in Florence
The first time I was there was with my mom and sisters. I remember just walking through this piazza and having a wonderful time and wonderful conversation, and really being awe-struck by the architecture and the history, and just that life was beautiful. Another time, a number of years later, I was on tour with David Byrne and we had our last show in Florence, and I remember walking through with band members and then having the best dinner of my life after. It’s one of those places where, at very pivotal points of my life, I’ve been there and only beautiful things have happened to me.
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chosetherose · a year ago
Mirrorball /
Don’t Take The Money
I was just listening to “Don’t Take The Money” by Bleachers (a song that has played pre-show at one of Taylor’s tours) for the first time since folklore was released and the similarities to “mirrorball” slapped me straight in the face. I’m in awe right now.
Let me explain why this is and why I think it’s significant. I promise it’s worth the read.
“Don’t Take The Money” by Bleachers
Somebody broke me once
Love was a currency
A shimmering balance act
I think that I laughed at that
And I saw your face and hands
Coloured in sun and then
I think I understand
Will I understand?
“Mirrorball” by Taylor Swift
I want you to know
I'm a mirrorball
I'll show you every version of yourself tonight
I'll get you out on the floor
Shimmering beautiful
And then I break into a million pieces
I'm still on that tightrope
I'm still trying everything to get you laughing at me
And I'm still a believer, but I don't know why
I've never been a natural, all I do is try, try, try
I'm still on that trapeze
I'm still trying everything to keep you looking at me
If you are familiar with DTTM then you probably know the song (to a lot of us around here at least) is thought to be about bearding (love is a currency, don’t take the money, the entire music video, etc.). So these direct parallels between DDTM and mirrorball lyrics are absolutely wild to me.
Both songs introduce the narrator *breaking* which is synonymous with pain. Both songs describe *shimmering* which is naturally in the context of something to watch (i.e. you usually look at a literal balancing act and at something beautiul). Because the narrators have a lot of eyes on them. Both songs talk about a *balancing act* or *tightrope* or *trapeze*. Because bearding/hiding your true self is difficult and delicate.
If that’s not enough to really blow your mind then please note that Jack Antonoff, aka the lead singer for Bleachers who co-wrote DTTM, also co-wrote mirrorball with Taylor.
This is a screenshot of the DTTM music video. These cake toppers were shown several times.
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Of course, Taylor confirmed mirrorball=discoball with her Spotify background for the song.
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The DTTM music video shows a cake topper bride and groom with shiny blue disco balls for heads. The whole plot of the video is a man and a woman (who don’t even speak the same language) at the alter to get married. But, the bride runs away with the woman who “speaks now” and whisks the bride away. Then Taylor just happens to make the Spotify visual for mirrorball be a freaking blue disco ball.
In my view, the blue discoballs in the DTTM video represent two people who are unhappy to be dressing the part faking a relationship together to project an “accepted” heterosexual relationship to the world. This sentiment fits with mirrorball as well... (Taylor) can change everything about herself to fit in while and the regular masarade revelers (the GP) are drunk off her pain (of bearding, hiding) watching her shattered edges glisten.
But, wait. Look again. The Spotify visuals for mirrorball show only HALF a blue discoball. If you’re familiar with the eye theory, you know its believed Taylor + Karlie have sort of aligned themselves as one. (If you don’t know what I’m talking about see @9w1ft ‘s blog). So, here we can presume the other half of the blue disco ball is Karlie but she remains out of view.
Consider this.. Taylor may never be able to say “Yes, my public relationships with men were fake. They were beards.” What she can do is set a narrative in motion that slowly allows her public and (true) private life to converge. At the same time, she can release songs like mirrorball that strongly connect to other songs like DTTM and hint at what she really wants to say. She can hope that people put it all together one day so Taylor and Karlie’s love will be passed on like folk songs.
Spoiler alert: The DTTM video ends with the beard kicked to the curb and the girls running off together. 💕
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olivieblake · a year ago
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I woke up at 5am, saw these in my inbox, and just started cackling to myself okay here are my thoughts (and I will also address these individually)
okay so this album is folklore but More Of It
there’s this line from a francesca lia block book I read as a kid:
“If Los Angeles is a woman reclining billboard model with collagen-puffed lips and silicone-inflated breasts, a woman in a magenta convertible with heart-shaped sunglasses and cotton candy hair; if Los Angeles is this woman, then the San Fernando Valley is her teenybopper sister. The teenybopper sister snaps bug stretchy pink bubbles over her tongue and checks her lipgloss in the rearview mirror, . . . Teeny plays the radio too loud and bites her nails, wondering if the glitter polish will poison her.”
this is obviously not perfectly applicable to the situation at hand but this is what popped into my head while I was listening, which is that evermore is folklore’s little sister and folklore is cooler and better/has stronger individual tracks but evermore is definitely welcome to come along and hang out (it’s also kinda like... folklore with winter vibes). I’m definitely not mad at getting more of the same!!! but if it were me I’d have been like “hey guys this is folklore part II: 2 folksy 2 loresome” or something like that, because while there are some experiments here in terms of sound, I don’t think it will ever be considered as a standalone work without comparison to folklore
I have tickets to loverfest west which has obviously been delayed, and now I’m like what concert am I even going to attend?? I’m down to go to a folklore/evermore concert OR a lover/past works concert but?? not both?? the atmosphere would be very confusing
which is topical because to the first anon who thinks taylor is leaving the music industry: I disagree and I know you’re probably getting that impression based on her saying she doesn’t know what she’s doing next, but to me that just meant more along the lines of what ts era we’re in or what she’s going to perform next or how she’s going to promote three untoured albums or what she’ll perform at her next tour. I think she made it quite clear music is her primary love, so I don’t think she’s going anywhere. she did say planning her sets and stuff is a separate creative energy that she hasn’t even begun to consider yet, so I personally think that’s what she meant—since yeah, some of us have tickets to a concert where we don’t even know what will be played
if anything, I think this album is further proof that songwriting is the love of her life and she’s not especially gearing up for anything in particular in terms of her career by releasing it; she just has time on her hands that she wouldn’t normally have had due to tours and promotion, so now she’s doing what she loves without much concern for its profitability (although I assume folklore proved there isn’t much concern to be had as far as profits) 
my favorite song BY FAR is “’tis the damn season,” which initially reminded me of cecily and porter from Saints and Liars (one of the stories in The Answer You Are Looking For is Yes) but the third anon is right, by the time I was almost done with my first listen I was like oh shit this is totally Never-Blink! I can’t unsee that now and also i now want to go back and read my own damn story
other songs I enjoy are “willow,” “gold rush” (I love jack antonoff, any time I look to see who co-wrote the song and it’s him I’m like I frickin knew it)
“tolerate it” has really standout lyrics I think, as does “marjorie”
I enjoy “long story short” a lot because it’s a welcome break after songs that are pretty but sort of difficult to distinguish from each other
“ivy” initially kind of reminded me of Lover from Draught of Living Death, but I’d have to listen again since it’s one of the songs that keeps mixing with the others in my head
I think “no body no crime” is really fun although I sort of wish she went a little harder, maybe brought on the dixie chicks or something? ALSO if I were still in an a cappella group I would mash-up “no body no crime” and “should’ve said no” and it would be GREAT ugh I hope somebody does that like, asap. but I’m happy she collaborated with women and that the result is we killed a man! 🥳
I do NOT like “coney island.” I’m just really not into the national and I don’t think their voices blend very well (I also don’t think taylor’s voice is as compelling when she’s in that lower register) and I was glad bon iver sang in falsetto because I was kind of bracing for another low disruption and I didn’t want it on a track as delicate as “evermore”
@junipernott it’s so funny you say that because as I was listening to it I was like this sounds exactly like something I would write—I obviously write a lot of heists/con artists, both in books and fics (Prospero from Lovely Tangled Vices comes to mind) but then I couldn’t think of anything that exactly fit the parameters of the song, so now I’m like WELL looks like I’ll have to write something then! 
overall I think folklore is the stronger album; a lot of the standout pieces on both albums are tay’s more personal songs and evermore is predominantly meandering fiction, so to me it’s less remarkable as a whole rather than simply proof that she’s very good at this. that being said I’ll probably combine the albums into one playlist and listen to them together henceforth, so I’m definitely not mad about it
Iong story STILL LONG: i like it a lot, it’s a vibe and an atmosphere and living in it is great
but also don’t overlook the fact that britney spears and the backstreet boys have a collab that came out today because okay, TALK ABOUT COMING BACK STRONGER THAN A NINETIES TREND
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taylorswiftdiscographyrate · 11 months ago
130. Mean (5.981) Highest score was 8; Lowest score was 2
I’ve never been a big fan of Mean, so I’m not mad at its placing here. While the idea of an anti-bullying anthem is nice, I’ve always felt it a bit... contradictory to pretend to take the high ground while also absolutely demolishing the person who you are pretending to take the high ground with!
Highlighted comments: @corneliaavenue​: “yee haw” @liabilitys​: “not my fav but her singing it at the grammys was a serve”  @everfolk: [gives the song an 8] “I said what I said. Mean is a GOOD song, she's underappreciated” 
129. Innocent (5.984) Highest score was 9; Lowest score was 1
Ah, another brilliant example of “I’m-taking-the-high-ground-but-I’m-actually-not”. However, in this case, I think Innocent is a masterpiece of passive-aggressiveness and I’m sick of pretending its not! I mean, “32 and still growing up now” is just such a perfect, condescending line. This might have been portrayed as the Kanye forgiveness song back in the day, but it’s time for us to realise it is THE original Kanye diss track.
Highlighted comments: @liabilitys​: “fuck kanye but lyrically this is gorgeous (also ever since i read about how "you're still an innocent" sounds like 'you're stealing innocence' and thus the double meaning of the song i haven't been able to function” @corneliaavenue: “I hope taylor changes the lyrics to 43 and still growing up now” @yourivysgrows: “Kanye didn't deserve the forgiveness” 
128. Jump Then Fall (6.025) Highest score was 8.4; Lowest score was 3 
This song is cute af, and it was a joyful surprise when Taylor sang it on the Rep tour, mostly because it was nice to know that Taylor remembers it exists! Aside from that... I don’t have much to say! It’s a nice song.
Highlighted comments: @corneliaavenue: “did I use to scream this song in my bedroom all of the time, yes. do I think she has better songs to do that to, absolutely” @yourivysgrows: “I listened to this recently and it made me happy”
127. Come In With the Rain (6.066) Highest score was 9.3; Lowest score was 2.7
Oh boy, I didn’t have much to say about Jump Then Fall, and I have even less to say about Come In With the Rain. It was kinda cool to see the page from Taylor’s diary in the Lover journals where she wrote some of the original lyrics and even had a little drawing to go along with it!
Highlighted comments: @itspeterlosingwendy​: “best on the album” @onceintwentylifetimes​: “love this one.” @corneliaavenue: “major New Moon vibes” (it’s been too long since I read Twilight for me to understand this, so I’m just going to trust you on it!)
126. Picture to Burn (6.103) Highest score was 8; Lowest score was 4
This used to be Taylor’s most problematic song! Wikipedia describes it as “an evisceration of a no-good adolescent male”, a description that is hilarious to me for some reason. The music video for Picture to Burn also gave Taylor’s original band their name “The Agency”, because they looked like secret agents in the music video. Just a little nostalgic fact for you there.
Highlighted comments: @tobesolonely​: “its too loud” @yourivysgrows: “A breakup banger but she has better”
125. SuperStar (6.106)  Highest score was 8.5; Lowest score was 2
This is my favourite of the Fearless Platinum songs - it’s just so sweet and full of yearning. Ironically, the secret message of this one is “I’ll never tell” - sis was more than happy to name drop guys from her high school but telling us her celebrity crush? No way! I don’t know who this song is about, and I don’t really care because it’s probably a country singer I’ve never heard of.
Highlighted comments: @yourivysgrows: “An underrated bop” @onceintwentylifetimes: “I'm emotionally attached.”
124. 22 (6.159) Highest score was 9; Lowest score was 1.3
The fact that the rerecordings are probably dropping this year, so I’m going to miss being 22 in the year that 22 rereleases by one year... a travesty. Listen, you rate this song low now, but what is going to be your Instagram caption on your 22nd birthday? I thought so. This song also has my all time favourite Taylor music video and we should all appreciate it more.
Highlighted comments: @itspeterlosingwendy: “not lyrically exciting but its fun” @liabilitys: “she invented the age 22″ @corneliaavenue: “A cultural reset, made 22 year olds cool again”
123. Sweeter Than Fiction (6.197) Highest score was 8; Lowest score was 3
This was our first introduction to the magic that is Taylor working with Jack Antonoff, a duo that would go on to provide us with some of the very best that Taylor’s discography has to offer. Sweeter Than Fiction... she was the blueprint!
Highlighted comments: @corneliaavenue: “GOD BLESS JACK ANTONOFF” @liabilitys: “underrated and taylor has paid it dust. one of my favs purely for the line "Someday you won't remember/This pain you thought would last forever and ever". also taylor's first collab with jack” @yourivysgrows: “This is one to shake yuh ass to”
122. Tied Together with a Smile (6.272) Highest score was 10; Lowest score was 3
This was another song that was an unexpected surprise song on the rep tour. A potential candidate for Taylor’s saddest song, this one is undoubtedly a powerful showcase of Taylor’s songwriting talent even at such a young age.
Highlighted comments: @corneliaavenue: “hearing this song live in the rep era is life changing” @yourivysgrows: “I love the message, it's just not a fave”
121. If This Was a Movie (6.322) Highest score was 9.5; Lowest score was 3
There was a time a couple of years ago where there seemed to be a lot of people stanning this song in the fandom, but it seems to have dropped off a bit. If This Was a Movie technically breaks the “entirely self-written” thing that Speak Now has going for it, since this is a co-write with Martin Johnson, but fortunately since its a deluxe song that no one ever talks about, we can let it slide!
Highlighted comments: @tobesolonely: “i think lyrically, this is one of taylors most underrated songs”
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untiloblivions · 11 months ago
2, 5, 9 and 10!
2. what band/ artist needs more love?
ms weyes blood deserves more !! and i will continue shouting about her until you all catch up and realize how great she is !! also lucy ducas and julien baker deserve just as much attention as phoebe bridgers 😌 not to pit powerful queens against each other bc i love them all, but of the boygenius girls, i feel like phoebe gets disproportionate amounts of attention.  
5. share a little known fact about a band/artist you love?
i watched this random interview with jack antonoff once and he said it was his dream that one day he’d be at a party and there’d be a piano there and someone would be like “does anyone know ‘scenes from an italian restaurant?’” and he could be like “i do! i know ‘scenes from an italian restaurant!’” and then play it for everybody, so....i know about jack antonoff’s dreams. also, jack, if you’re reading this and you want to invite me to a party that taylor swift it also invited to, i will ask you to play ‘scenes from an italian restaurant’ :^) 
9. how do you make your playlists?
usually i get an idea for a playlist, generally centering around like? a feeling or event in my life i guess, and that typically comes with like 2 - 4 songs that i already know i want to go on there. then i’ll either wait around for other songs that fit the theme to fall in my lap OR i’ll comb through the albums section of spotify and make a SUPER long queue with all the songs i think may fit the vibe. then i listen to all the songs, generally while reading along with the lyrics online, and add everything i think may fit (this part takes way too long, i need to find a better process). then i usually walk away and let it sit for a while and when i come back i listen through all the songs that made it onto the playlist and try to put them in an order (usually i listen to that last 30 seconds of one song and the first 30 seconds of another to see what sounds good next to each other) and whatever doesn’t end up finding a place in the order gets discarded. this whole process is honestly way too strenuous and is probably the reason i make so few playlists but i have no idea where to find another method so....here we are. 
10. what are the best playlists you’ve made?
i usually only listen to playlists for like a week before i completely forget about them, but my cooking playlist lasted longer than most and i was really proud of it when i made it. also i my playlist “the good covers” got 4 (4!!!!!!!!) likes on spotify and i was really proud of that one as well. 
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tswiftdaily · 2 years ago
Rolling Stone: Taylor Swift Reaches For New Heights of Personal and Musical Liberation on ‘Lover’
Her epic seventh album is all about big moods, dreamy Eighties throwbacks and evolutionary freedom 
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By the time “It’s Nice to Have a Friend” arrives on Lover, her seventh and most epic album, Taylor Swift has entered uncharted territory. For one thing, it’s the 17th song here, and none of her previous albums have run more than 16 tracks. (Lover actually contains 18.) More importantly, it’s not about being 16 or 22 or even her not-insignificant current age, 29. It’s about being six or seven, and walking home from school in the snow: “Lost my gloves / You give me one / Wanna hang out? / Sounds like fun.” There’s no beat, no banjo, no metaphors or coded messages. There is, instead, deconstructed steel drum, horn and cooing voices — Animal Collective as interpreted by hip-hop-savvy pop-producers-of-the-moment Louis Bell and Frank Dukes, the song’s co-writers. It’s like the end of 2001: A Space Odyssey, where a long turbulent journey through outer (and, naturally, inner) space culminates in the sudden appearance of a planet-sized fetus. For two and a half minutes, Swift regresses past all the drama and heartache she’s cataloged since her teen years to curl up in a weird little pocket of beauty. Swift has always been vulnerable, of course. And just as obviously, that vulnerability has been her strength. Female pop stars since Madonna have been expected to constantly reinvent themselves, lest it seem like they’re aging — an impossible standard that vexed Swift contemporaries like Lady Gaga and Katy Perry. In sharing her actual feelings about relationships chronicled by the tabloids — and parrying the entire internet’s judgements of those feelings — Swift helped open up a space for Ariana Grande to directly address Sean, Pete, and Malcolm on “Thank U, Next” (to name one glorious example). When Swift went pop, that wasn’t so much a transformation as an annexation of new territory. Grande might’ve picked up something here, too, with her triumphant embrace of hip-hop-style surprise drops. If Ariana, Billie, Halsey and others seem so effortlessly themselves, it’s in part because Swift worked so hard at speaking her truth and smiting her enemies. Lover is, fittingly, evolutionary rather than revolutionary. But nevertheless it feels like an epiphany: free and unhurried, governed by no one concept or outlook, it represents Swift at her most liberated, enjoying a bit of the freedom she won for her cohort. Made mainly in collaboration with Jack Antonoff, female songwriting ally nonpareil, the album’s dominant sound is sleekly updated Eighties pop-rock. In a bonus making-of track destined for a Target edition of the album, Swift tells Antonoff she wants a “dreamy guitar-y throwback, but not camp throwback” sound for the title track, and that’s pretty much the vibe. (Think recent Carly Rae Jepsen, if she made actual hits.) Swift loads “Paper Rings” up with a “1-2-3-4,” a “hey! ho!” and a key change for a jittery bit of Cars-meets-Eddie Money-meets-Go-Go’s delight. On the terrific “Cruel Summer,” written with Antonoff and Annie Clark (a.k.a. St. Vincent), she tells a simple tale of tortured love in under three minutes of pure pleasure, with what sounds like a smattering of talk box. When she sings “Out the window / I’m always waiting for you to be waiting below,” there’s no question you’re supposed to picture John Cusack in Say Anything.
Swift adjusts her frame of reference as needed. She claims to be “In my feelings more than Drake” in “I Forgot That You Existed,” a pro forma, post-trop-house declaration of her “indifference” to the haters. Thankfully, that’s mainly it for the sassy, winking Swift. Instead, she mostly goes for the big moods. “False God” is as minor-key and seductive as anything by the Weeknd, with a chorus, well — I’ll just leave this here: “Religion’s on your lips / Even if it’s a false god / We’d still worship / We must just get away with it / The altar is my hips.” She zags into oblique political commentary with “Miss Americana and the Heartbreak Prince,” a high school parable where she sees “high fives between bad guys” and delivers “O! K!” interjections in her best cheerleader voice. Like Euphoria,the HBO teensploitation extravaganza, it’s dark, melodramatic and, against all odds, perfect.
There’s plenty more fodder for the Swifties, haters, and bloggers here. Leo takes a proverbial volleyball to the face on “The Man,” a usefully blunt indictment of double standards, and the dub-inflected “London Boy” counts all the ways she “fancies” her boyfriend Joe Alwyn. “Soon You’ll Get Better” was recorded with Dixie Chicks, but giving the country-radio exiles a feature isn’t the point — the song is note-perfect ballad for Swift’s mother, whose cancer returned earlier this year. Whatever there is to be read into these songs, they are for one person and one person alone: Taylor Swift. Finally.
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dancingintheafterglow13 · a year ago
1/5: Hey, I'm new to this part of the Taylor fandom, and I went through the entire presentation you made, and I really love it, you made it very well-rounded, and I wanted to tell you I really enjoyed it! One thing I gotta say is, as a new member here - and I've tried talking about this to friends, even shared this theory on lchat, but I had to reach out to you now because you touched on something I've been thinking about a lot lately.
2/5: You mentioned tolerate it could be about a relationship with one of her parents, and I agree, given what we know from Miss Americana. But that got me thinking to her other track 5s, because tolerate it is the newest 5th one. But looking back on all her other tracks, they all have very similar topics - being rejected by someone that means a lot, broken hopes and dreams and wishes, sadness, a dash of manipulation, hoping someone loves you for who you are - but sadly they can't accept it
3/5: With the exception of the second verse of Delicate, all these tracks have similar themes. And we know her dad's bday is March 5 - which can be another pointer to him. And what also got me thinking was when I first heard my tears ricochet, I couldn't quite put my finger on it, but it sounded like another song I knew. I watched a bunch of reviews about folklore and I saw comments about how her last two albums sound a lot like Lana Del Rey
4/5: And then I researched a bit and found that Jack Antonoff has worked with both of them on different songs, but that wasn't too weird, but when I started looking into his work, I found the song that mtr reminded me of - Heaven by Troye Sivan. They have a similar intro! And wouldn't you know it, Jack has worked on that song too! And guess what else - just like these track 5s, it's about the same themes - it's just Heaven is explicitly about being LGBTQ+ and coming out to family.
5/5: So when I saw your presentation, I had to share this with you, because this realization about these songs feels like an itch that can't go away and I keep trying to find people to talk to about this who might have interesting ideas too.
Wow! I’m glad you enjoyed my presentation. After reading through your ask, I’m finding that I really agree with you (I did a bit of my own analysis but it’s long so I put it under the cut).
mtr is a bit similar, musically wise to Heaven (btw, THANK YOU for reminding me of this song. It’s one of my favourites). I wouldn’t have noticed it otherwise but now that you’ve mentioned it I can see the connection. The oohs, for one and even though the drums are a quieter in mtr they still have that pulsing feel like in Heaven (especially in the bridge).
Generally, I’m not sure if Taylor’s track fives are all related (especially the earlier ones because she didn’t plan track fives until either Speak Now or Red), but I think that many of Taylor’s songs have more than one meaning to them so there could be the meaning that people have figured out and then there could be a deeper one that is more of a thread that connects them all.
Let’s take a look at Taylor’s track fives, especially the more recent ones. tolerate it, is definitely about her dad, and it makes a lot of sense for it to be about her trying to come out but not wanting to disappoint him. Taylor has essentially said that mtr is about the master’s heist (and Karlie) in the long pond sessions, but it also has the “hero” line that matches up with tolerate it. It also seems to have similar themes to tolerate it, where it’s killing her to stay quiet but it would kill their relationship if she said anything.
I already thought that The Archer was about wanting to come out but being scared to so it could also make sense in terms of family, not just about her fans (and it connects a bit to tolerate it with “who could ever leave me… but who could stay”). I’m not sure that Delicate really fit in here as it feels a lot like an actual relationship, but I can see the “is it too soon to do this yet” possibly being about coming out.
Surprisingly, AYHTDWS fits, at least a bit. Taylor wants her dad to be there for her and when he is, it’s not like she wanted, where she could be open about who she is. All Too Well doesn’t really fit this theory (scarf line and innocence maybe), BUT I’ve seen some theories about The Moment I Knew and tolerate it. I can’t find it right now (someone let me know if you find it) but it just goes back to the theme from track fives of Taylor wanting someone to be there who doesn’t realize how much it hurts her that he’s not.
I’m not the biggest Dear John fan but it’s interesting to think about in this way, where Taylor is trying desperately to be who her dad wants her to be but she can’t because it’s not her. White Horse too. It’s another one about Taylor feeling alone after being left by someone she cares about.
I actually started crying when I looked at Cold As You. I’ve always loved that song but it hits different if you think about it not being about a romantic relationship but about parental one. With someone the singer cares about and wants to be loved by but are only tolerated…. wow it makes a lot more sense than I thought.
These are all just surface level but I’d be happy to do more in depth analyses if people are interested (not sure when but this is really fascinating to me).
Thank you so much for sharing (bit of advice, I’ve heard the lchat isn’t really a good place for theories or anything; gaylor tumblr is a bit of a better place). If you have a blog, you’re welcome to private message me if you want to talk more about all this!
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slowmotiondoublevision · a month ago
i lich rally had the best time of my life today
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sinceileftyoublog · a year ago
Taylor Swift Album Review: Folklore
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COVID-19 has gotten a lot of people holed up in one location thinking about their past, their regrets, and their legacy--even the world’s biggest pop stars. Recorded in isolation during the pandemic, Taylor Swift’s folklore intertwines not-so-subtle references to her combed-over personal life, character love triangles, and the ghosts of our past, allowing her most nuanced self-reflection yet. In collaboration with The National’s Aaron Dessner, frequent co-writer Jack Antonoff, and even Bon Iver’s Justin Vernon, Swift has created not just an album of only good songs, free of the problematic virtue signaling that’s plagued her in the past, rejecting any aesthetic that could soundtrack a pet food commercial. folklore is a great, cohesive statement of purpose, a literal “fuck you” to the men who’ve written her off as a serious artist or defined her by her boyfriends, but one that achieves the kiss-off from lifting herself up more than putting down others. As she sings on sparse, yet bouncy and finger-snapping opener “the 1″, “the greatest films of all time were never made” and “the greatest loves of all time are over now.” It’s time for us--and her--to move on.
Throughout folklore, Swift looks back at what was expected of her, a white, blonde, all-American sweetheart country singer, and reclaims her persona beyond a three-year period in which she finally revealed her political beliefs and cornily declared the old Taylor dead. On immediate highlight “cardigan”, she uses the imagery of a lived-in sweater to occupy meaning beyond a comforting cliche, something with real history. “Sequin smile, black lipstick,” she sings, “Sensual politics / When you are young, they assume you know nothing.” Over the same swooning violins and booze-lounge piano work that Dessner does so well with The National, Swift reveals her threads. On the clattering, comparatively propulsive “the last great american dynasty”, she sings about Rebekah Harkness, the composer and oil heiress who lived in Swift’s Rhode Island house before her, and sees commonalities with her, both setting the record for “the most shameless woman this town has ever seen”, both of whom “had a marvelous time ruining everything” throwing Gatsby-esque parties. “seven” features nervous, blip drum programming from The National’s Bryan Devendorf, as Swift looks back at her childhood as when she was, conversely, the most at ease. And on the jangly “mirrorball”, she sounds conflicted when she declares, “I can change everything about me to fit in,” recognizing the pros of adaptability and the cons of being unable to subvert expectations.
Indeed, part of what makes folklore effective is its successfully delicate balance between Swift’s self-critique and righteous indignation towards those who have wronged her. “You wear the same jewels that I gave you as you bury me,” she sings on “my tears ricochet”, a song about a tormentor showing up at the funeral of his victim, a possible reference to Scott Borchetta’s betrayal of her when she left Big Machine Records. On “mad woman”, she asks rhetorically, “Does a scorpion sting when fighting back?” and later, “Does she smile? Or does she mouth, 'Fuck you forever?’” And yet, the somewhat maudlin and muddy “this is me trying” nevertheless reads like a necessary lift-via-confession, one that encompasses and previews the humility and empathy present on some of folklore’s other best tracks. The ambitious emotional centerpiece “epiphany” imagines the experience of a soldier in WWII next to a health care worker during COVID-19, a New Age hymn with real substance through humanism. “Only twenty minutes to sleep / But you dream of some epiphany / Just one single glimpse of relief / To make some sense of what you've seen,” Swift sings deftly, coming face to face with the uncertainty brought upon by life’s ultimate tragedies. Even lighter fare like country pop tune “betty” is written from the point of view of a 17-year-old lost in love, and “illicit affairs” from the point of view of someone lost in lust; Swift inhabits other characters with skill and precision.
Ultimately, the two tracks wherein Swift sings about her current relationship, with actor Joe Alwyn, almost entirely, benefit from the same sense of perspective that allowed her to tell others’ stories. It takes over half the album to finally get that banjo track, but “invisible string” is worth the wait. Swift, self-referential, sets the scene, “Bad was the blood of the song in the cab on your first trip to LA / You ate at my favorite spot for dinner,” reveling in the part of new love when you begin to share yourself with someone else. The kicker comes when she shares how her current happiness, and perhaps growing older, has softened her: “Cold was the steel of my axe to grind / For the boys who broke my heart,” she declares, summarizing so many of her best-known songs and albums, before shrugging, “Now I send their babies presents.” And on “peace”, she asks Alwyn whether he’d be okay with the life of scrutiny that comes with being with her, warning him, “I’d give you my sunshine, give you my best / But the rain is always gonna come if you’re standin’ with me.” Dessner’s staccato synthesizers and bass noodling adds a weighty melancholy to “peace” and so much of the record. The inherent sadness of nostalgia and mediation on the past, accepting it, simultaneously being okay with the present and the future. This is Swift’s entry in the folklore of the loved, the loving, and the lonely.
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9w1ft · 2 years ago
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this post is for any swiftie who is on the fence about this, or anyone who has heard about kaylor for the first time. please allow me a few minutes of your time.. pretty please with a cherry on top? i see you. ready to scroll past this. please. in this moment. please. give it a read. two years ago i was right where you were. please look this time. it is so important to what is going on now and taylor needs you to understand fully about scooter.
we are at a turning point. taylor’s life’s work was just bought up by scooter braun and it is important for everyone to read this perspective because as swifties we have to understand the full gravity of the situation in order to best defend taylor against her worst nightmare. you may think the kimye situation is terrible enough, but add to it this:
Scooter has been a manager for a one joshua kushner for the better part of this decade. as in, the brother of the guy who is running major arms of our whitehouse without qualification. scooter’s job is to improve his client’s image as it relates to securing foreign investments as josh is a uh.... ‘venture capitalist’ in charge of investing his family’s assets. if you’ve been looking into scooter, go ahead and look into him too.
josh started being seen with then 19 year old (think about that) rising star karlie kloss. considering the amount of push in tabloids that this otherwise nobody started getting, these two are easily identifiable as a PR relationship. he does work with many overseas investors, and karlie helps bring them in where josh alone cannot (please take the time to look up about PR relationships and how common they are. also look up ‘bearding’ and how common it is to set up a PR relationship so that a manager can better mask who a client loves, should that be problematic to a target demographic)
taylor and karlie were formally introduced to one another at the end of 2013. they became best best friends. inseparable. seen together everywhere. anytime they are together their happiness is palpable.
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did you know there was a slice of pavement in new york city by where karlie lives with the initials TS♡KK engraved? they were thick as thieves!
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i am not going to ask you to believe taylor and karlie dated one another. and if you believe that, i’m not going to ask you to believe they are still together. as for the first point, well, the visual history between them (and between taylor and other women integral to her life story) is overwhelming and if you would like to look at what i feel are the most straightforward stuff browse my blog @kaylorwelcomecenter and beyond.
but i digress. let’s assume taylor and karlie were just best best friends, then
...well, okay, they got caught kissing (we think that’s what Dancing With Our Hands Tied is about). but let’s say they were drunk? regardless, the smiles don’t lie—i think it goes without saying that taylor and karlie were important to one another. karlie influenced taylor to stay in new york, for example, instead of moving to london. karlie changed the trajectory of taylor’s life.
and you know they meant the world to one another because of songs with specific lyrics pointing to that like You Are In Love (taylor had an instagram post of her and karlie road tripping at big sur with the caption ‘on the way home’), and on reputation with songs like King Of My Heart (‘drinking beer out of plastic cups’ ... google “taylor swift beer” and see what photos come up), and Dress (watch her perform it with karlie watching, as she sings “i don’t want you like a best friend”).
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karlie signed with scooter and in 2016 trump assumed office. jared kushner suddenly represents our nation. from then til now karlie has grown further and further distant from taylor as her relationship with jared’s brother continues.
that pavement? construction happened and the TS was mysteriously cut out and replaced with a J along with the freshly laid concrete.
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rep tour starts and includes the song “don’t take the money” by jack antonoff in the preshow playlist. please listen to that song.
karlie announces her engagement to josh and the very next concert taylor sings Curious with hayley kiyoko and is in charge of the line “calling me up so late at night are we just friends? say you wanted me but you’re sleeping with him.”
the only time they are seen in public is at the nashville concert in august, and there is a photo of karlie celebrating her bachelorette with her sisters. strange that the same ambience of the photo down to the curly pink straw was replicated in You Need To Calm Down. karlie’s straw says ‘bride’ while taylor chose the word ‘lover’
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after passing through karlie’s hometown, taylor sang “Speak Now” and was shaking with electricity in her delivery.
taylor comes out as a democrat. says something compelled her in the past two years to start speaking out.
karlie and josh suddenly hold a surprise wedding (coordinated by scooter’s team) while taylor is en route to australia. i say surprise because it came out of nowhere, (wouldn’t you say it took taylor by surprise?) had close to nobody documented in attendance, and the tabloid articles pushed it constantly during the bad press the kushners were getting in conjunction to ... world events involving a us citizen that was a member of the press...
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taylor lands in oceania and sings I Knew You Were Trouble and slips in a firey “and the saddest fear comes creeping in that she never loved me”
on the very last night of the rep tour, a kaylor sign (representing the pavement mark) gets put up on the big screen as taylor sings “you belong with me” and bows in front of it.
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in between then and the lover announcement, taylor all but confirms that half of one of the reputation concept photos is a collage of her and karlie’s eyes. ...i mean, she even encircled which eye is hers on the lover album cover 😂
because their first wedding was such a drag, karlie and josh held a ‘bigger reception,’ also coordinated by scooter’s team, and they had the audacity to give out shots of patrón as party favors 😡 taylor is not in attendance.
now scooter buys her music??
not only is this guy responsible for bad behavior surrounding kimye, he also has orchestrated the obliteration of one of the foundational relationships of taylor’s life. whether it was platonic or more than that, i don’t want to waste my time convincing you because either way, hearing scooter’s name makes taylor cry. and i am a thousand three hundred percent positive that it isn’t just about bullying surrounding kimye.
think about that. think on it.
we need to support taylor (and god am i worried about karlie in her own right!) and it goes beyond the kimye drama because this man and his client are predatory and downright creepy. and given the political connection? dangerous. they ruined her reputation and took away her best friend. literally took her name out of the pavement and ‘married’ her friend off in the eyes of the public. this goes far f*ing beyond bad management practices. this is so unforgivable.
and i cannot stand for people jumping in the comments telling us we are all delusional. honest to god i thought this was all ‘a reach’ two years ago. i was there. but i gave things the benefit of the doubt and i looked into it. i did my research on the music industry, and on hollywood and PR relationships. taylor wanted us to get political, right? please take this a step further if you already haven’t and look into the structures that control our society. taylor is dropping easter eggs for us, right? we need to look for clues. taylor is drawing attention to LGBT issues, right? look at the intersection of that and the music industry, suspend disbelief for one instant and imagine if taylor herself was gay, what her relationship with karlie may have meant to her, and how it was torn apart, at the very hands of the men who took over her music.
i am being serious. people calling us delusional might like to tout themselves as being sane or more in touch with the world, but they are literally sticking their heads in the sand on this one and turning a blind eye on something that is so cutting for taylor... now and over the course of her whole career. and each and every one of them best get off anon and stick a name to their words and proudly stick a pin to their comments, and @ taylor (i am dead serious. at your words to @taylorswift) if they are oh so confident, because when this blows open they’ll be on the wrong side of history on this one and i want them to know it and own it and learn from it. because this a huge life lesson and we are poised to take what we learn and give back to our idol by defending her in full force and it’s harder to fight when you’re sitting on your hands.. what role are you going to play? please... make the jump.
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strawwolf · a year ago
The King: Eternal Monarch  - Ep 9
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Start from the beginning | Ep 10
As always these are real time reactions. Please DON’T SPOIL anything for me. I want to finish this series without knowing anything in advance.
Please note, this is a Language Warning. There may be foul or coarse language in this recap
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Okay is anyone ELSE confused? Did we skip an episode? I mean it SAYS episode 9 but uh...there was a whole THING with Yeong and Gon and Shin that was kinda important last episode. What happened?
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Who her? What? Gon’s dopple mom?
Did we time skip? Is this in the future? Or....? Is her hair longer here?
“The face is just a symbol of a person.”
Oohhh! He doesn’t want to tell Tae=eul about the flute. I’m sure he probably believes that it’s for her own safety. 
Is Gon contracting Eun-seop as a personal attendant or something? 
“From now on you must be the real Unbreakable Sword.”
Doesn’t this just fuel the idea that Yeong might die and Eun-seob will have to take his place? OR because Eun-seob has no training, he’ll die trying to save Gon. But then Tae-eul will never forgive him. 
Back in the Kingdom Koo’s mom is dropping off food for her. She’s REALLY suspicious about Lim. 
“About that dead Lee Lim...Did he have a hidden child or something?”
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Now I KNOW she’s talking about Lim himself and assuming he’s his own child because he hasn’t aged but my mind immediately jumped to Shin-jae. Also Koo said he died without an heir and that woman seems to have spies everywhere so I want to believe that she would know. But still I wonder...
Then her mom mentions the “umbrella guy”. 
“If you spread rumours like that it’ll be the end of me.”
Of course. By all means think of how it will affect YOU. Not your mom. Who cares about her? Not you.
But now that’s DEFINITELY got Koo thinking. Because who’s the woman in the photo? It’s not her but it looks like her. 
Ok I THINK I know what’s going on now. All of this happened DURING last weeks episode because we see Shin break into Gon’s room. With a room key. 
We flash back to when Shin was a child in the Kingdom and witnessing Gon mourning his father on tv. And it looks like his mom gave him up...willingly? maybe?
“Stay right here okay. I’ll come back for you soon.” 
Ok NOW we’re back to the end of last episode. 
Shin ain’t afraid of you Yeong. 
“Help me, then I will help you. Whatever you’re looking for I’m sure I’m the closest person to it.”
Shin just wants them to leave. He threatens to arrest Yeong and gives Gon this look that says ‘you’re not MY king’.
“He only remembers the emblem so I guess he came here when he was little.”
“Why bring a child here?”
Why indeed? 
“He must have needed his parents. Whether it was his parents in this world or ours. ”
What? How could he possibly have come to that conclusion?
Shin’s waiting for Tae-eul because know he KNOWS she knows and that she didn’t tell him. He is SO mad. Why didn’t she just explain that she believes BECAUSE she went there.
We see Shin waiting in the Kingdom, crying until Lim with his umbrella approaches. 
“You must have lost your mom. I’ll find her for you.”
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Yeah you’ll find her alright. In another world. Except she was never in on it. She just thinks Shin waking up was a miracle. So does that mean Lim must killed Shin’s dopple too? 
What is this building Shin’s hanging out in front of? Old family home?
But now Tae-eul doesn’t know that Shin isn’t Shin. Or at least not the one from this world.
Eun-seop is celebrating his re-entry into civilian life with food but notice that Shin isn’t there? Is Tae-eul watching the door for him?
Ooh, I think he left her on read
And then time stops because Gon left. Nope it was Lim. Ooh this is bad he’s back in the republic. 
“A police officer visited the care center. They sent the office away without causing suspicious, so it’s fine.”
I KNEW IT! It’s probably not just the manager that’s working for Lim then. It’s probably the whole damn building.
Lim knows now that the guy Yeong and Gon were interrogating is missing. So that’s not good. But he DOESN’T know that Gon has the guy’s burner phone. So...yeah this still doesn’t look good.  
“Keep shaking while you’re being shaken. Make a crack to regain balance.”
More foreshadowing?
Is the white-haired guy always hanging around Koo her dad or something? An advisor?
“The King took all the credit for winning the war. We should at least resolve the employment problem.”
Not sure that was the smartest thing to do. Cause now he knows you know. You’re not getting anything out of him now with that phone. 
Um...Koo’s visiting some guy in prison. He bought her shoes? What? He’s her ex husband? Wow ok. For someone super obsessed with her image she must HATE the fact that she has a history with him. Do you think she divorced him before or after the prison sentence?
Turns out HE got her those blackmail photos. He’s still in love with her isn’t he?
“I was thinking that maybe I would get something in return for what I did.”
Buddy, she’s stone cold and helps HERSELF more than anyone else. But he must know her better than most yes? Also how does he have all this information? 
“A Prime Minister wire tapping the royal court? That’s treason you know...You’re really scary...Are you really trying to become the Queen now?”
“Can’t I? Greed is the most sincere emotion. What’s so bad about staying true to my emotions?”
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Is that how she justifies all the illegal shit she’s doing? Because it FEELS sincere? Well it doesn’t matter cause she ain’t gettin’ anywhere near Gon or the throne. Sorry dear, but that way is closed to you. 
She asks him about the newspaper and now we have yet another person digging into things they probably shouldn’t. And this is worse than Shin because he’s a good guy. Koo is ruthless and doesn’t care who she steamrolls or what rules she has to break to get there. 
“Find the ones who participated in the treason 25 years ago.”
Meanwhile Gon and Tae-eul are having a dinner date. Don’t be chicken don’t be chicken don’t be chicken. 
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Hmmm, THAT’S why Gon drafted Eun-seop, he’s leaving Yeong in the Republic with Tae-eul right? Ah and he thinks it’s okay because Lim is here and more dangerous so if Gon goes back to the Kingdom, it won’t be a problem. Yeah whatever buddy. The ONLY good thing about this is Yeong is going to have to pretend to be Eun-seop again and I have discovered that I LIVE for those scenes. 
Gon’s idea is to wait on the path and catch Lim coming back. But buddy, your plan is dumb because YOU SPOKE TO LIM! He’s probably on high alert now and assumes that because Gon knows he’s going to have to be more careful which INCLUDES gate-jumping
“In the worst-case scenario the only one who can kill him in this world is Yeong.”
Oh dear Eun-seob is going to have to cut his beautiful hair. But on the bright side. The Na-Ri dopple LOVES Yeong so...Also at this rate it’s gonna take him a year to finish cutting it.
Granny kinda seems to know what’s going on cause she sends guards out to meet Gon and “Yeong” and their guest. Also Eun-seob is holding that balloon that was in the void which means he stepped off the path. Guess you don’t die when you do that. Good to know. 
Eun-seob you’re Yeong now, remember! But also WHY didn’t Yeong inform him about HOW things were different? Bad training Unbreakable Sword. 
Gon wants anyone appearing the forest to be arrested. But he doesn’t know Lim hasn’t aged! He tells them to look for a man in his 70s. Uh oh. Is this how he escapes
Omygod Eun-seob is gonna have to get used to calling Gon his king. This other guard, poor guy, must think Yeong is drunk or high or something. 
Oh no. Granny’s gonna right through this whole thing isn’t she? Cause Eun-seob is VERY bad at this. 
Ooh the silent treatment. Not sure Gon’s gonna like that because he’s an attention hog. Ooh even worse she’s repaying him the favour cause he didn’t say goodbye when he left. Buddy you done forked up
And then she dismissed him! Can’t sure you can do that to Gon. 
“I was going to tell you everything if you asked where I was.”
“I already know. I know where you’re going.”
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But then she doesn’t elaborate. Come ON Granny! 
Meanwhile Gon has a spy to arrest.  
Annnnd Shin’s on vacation. Yeah this is a total cop-out, pun intended. Why don’t we get to see Shin’s full reaction to all of this? He’s supposed to become part of the team now that he knows. Can’t do that if you’re offscreen. 
UNLESS....HE didn’t choose to go on vacation. What if Gon’s phone nonsense set off a bunch of dominos which included Shin getting got? After all we still don’t know why Shin was switched. Last time we saw him he was by himself at night so I wouldn’t put it past them to try and use him as a bargaining chip. 
Everyone at work is worried and think it’s because of his mom. I guess Tae-eul doesn’t know he’s been sleeping at the station. 
Ok he’s alright, just drunk. But he’s back in that gambling den(?) and that guy offers him money again. As Jack Antonoff would say, Don’t Take the Money.
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“Someone I know calls me their brother. That person is really smart and persistent. The only place I can stay hidden from that person is here.”
So he’s hiding out from Tae-eul. And this bad guy is being, kinda nice. He actually seems to be concerned with Shin, saying he should go somewhere nice and warm if he’s on vacation.
Meanwhile Gon’s trying to break into Yeong’s computer and Eun-seob is mocking him. It’s hilarious. 
Also Eun-seob’s “stance” when other people are watching is just...too much.
Ugh it’s Koo.
Ahaha! She doesn’t get any alone time with Gon. Guess that curtails her plans.
Back in the Republic Yeong is hanging out at the tea shop and uh...I think things are about to get amusing. 
He smiled!
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Na-Ri knows what’s up. Also she thinks he’s not as cute anymore. Yeong buddy, you gotta up your game here. 
“He looks a bit lame. What’s up with the hair?”
Ouch. Maybe cut back on the hair gel? 
Does Yeong need a car or something? I’d pay money if we could see him on a scooter. And for Gon to SEE him riding said scooter. Because you KNOW he’d say something cutting. 
Eun-seob looks better with his hair like this doesn’t he?
Ok scratch the scooter idea. I want to see Yeong interact with Eun-seob’s siblings. 
Back in the Kingdom Koo starts getting nosy. God’s she awful. Also she just casually drops the question of Gon’s marriage. Sweetie that’s none of your business. But he just casually admits he’s already proposed to someone else after she blatantly admits SHE wants to marry him. 
Turns out Yeong isn’t so great at passwords. But why did Gon need the laptop in the first place? Um...is this live footage of Tae-ul? Pretty sure that’s illegal. Also creepy. 
Okay and NOW we get to why Lim hasn’t aged. Gon explains to Tae-eul. 
“Even if I spend one day in there, two months flow by outside.”
Does this mean Lim spent months in between? Why? And how did HE figure out that time flowed slower in there?
Gon doesn’t seem to understand that she has a job and a family here. It’s super selfish of him to ask her to come and live with him. 
“Don’t ask me to come with you. What about this world? What about my dad and Na-Ri and the station? Saying that just puts me in a tight spot.”
So if Gon has Yeong’s laptop, what are all those stickers on the front of it. That doesn’t really seem like a Yeong thing to do. 
Gon sees Yo-yo boy in one of the recordings and the kid appears to stare RIGHT at him. 
The kid appears to be able to call up storms and somehow the storm is felt THROUGH the laptop because Gon’s scar starts hurting. 
Whelp now he’s gonna go check out the bookstore. Why would this be on Yeong’s laptop? Also the date says it’s from 2022. I thought this show was set in 2019 so... And if that isn’t Tae-eul then...is this Luna and if so...is this from the future and if so...how did it get onto the laptop? Who put it there? Ok with all the time travel stuff maybe GON put footage on the laptop for his past self to find. 
We know Lim has people following Shin. And now he knows Shin went to see dopple Gon’s mortuary AND about Tae-eul. He calls her “the move I didn’t make.” Is this related to Luna? Was he planning on switching her?
Hmmm. He doesn’t take it well when the henchman proposes killing Shin and Tae-eul. That’s not suspicious at all. 
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Ok now I’m REALLY confused because apparently the bookstore Gon’s looking for doesn’t exist. Because that’s where Shin’s mom went and SHE’S in the Kingdom. Luna spoke to Yo-yo boy outside the bookstore and SHE’S in the Kingdom. Ok MAYBE it’s hidden or they masquerade as something else during the day or the guard tried electronically tracking them down and they have no digital footprint. 
Ok MAYBE...nope. I was going to propose that all the bookstore scenes happened in the past but Lim was getting messages about where Gon was and that was in the present. 
Oh no Buyeong is in the bookstore! Get out of there buddy! Yeah that guy recognizes him. This is NOT good. Please don’t kill the old guy. 
Also how did Buyeong find the place but palace security can’t? Is he going to be the link to helping Gon find it? Also WHERE is his security?
“People usually tell fate to move aside and challenge it. Should I fight against it?”
“You can never know what will happen in life. But if there is a place you want to reach even if your life may be at risk that is fate. The footsteps you take by risking your whole life is what’s fate.”
Ooh that effect of Gon walking through snowflakes!
And Gon shows up randomly on Maximus in the middle of the city. Again, security? Where are you?
Ok this IS smart, searching for Lim in the security footage. But he’s looking for the WRONG GUY. He’s looking for a 70 year old. He needs to put that together with the convo he and Tae-eul had about the in between and aging. THERE we go!
Ummm....yeah this is bad. But I’m pretty sure the mob would rip Lim to shreds if he tried anything as everybody seems to love Gon.
Turns out Lim was ALWAYS there. He was at Gon’s military graduation and probably all the other big things.  
“Someone who does not age. A near-immortal life.That is what you want to achieve. Eternity.”
So kinda like Koo. No terms limits. 
Again where is security to arrest this guy? What does Lim hope to achieve by being caught here? 
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Onto  Ep 10!
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crowdvscritic · a year ago
round up // DECEMBER 20: CROWD vs. CRITIC vs. CHRISTMAS!
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Hello from that time after Christmas when time itself feels lost because our commitments are few and the days are short. Maybe this is Tenet?
Unlike last year, I’m not trying to squeeze in a zillion awards contenders. The perk of this elongated Oscars season is that I’ve had more time for one of my favorite genres: Christmas movies! I revisited many of my favorites (some more than once), and I checked out over 20 new holiday titles this year. Because I found so many new ones to love, this Round Up has a special section this month. That’s right—this month is Crowd vs. Critic vs. Christmas! After you read about my new holiday discoveries, you can find all of my holiday recommendations on Letterboxd.
Speaking of Letterboxd, I’d love to give a special shout-out to the platform that helped my year feel a little less like 2020. A theme I kept returning to in this crazy year was, “Focus on what you can control,” and there were a lot of days when the only thing I could control was, well, watching movies. I watched more than 700 in 2020, and Letterboxd helped me keep track of what I’d watched and make plans for important titles I still wanted to see. Honestly, it’s the closest I have to a diary of my year.
My second shout-out (though no less important): Turner Classic Movies. I’m nearing my 200th TCM viewing, and my love for their ad-free screenings and thoughtful lineups has only grown. Each month I read through the channel’s schedule, compare it with my Letterboxd watch list, and set up my recordings. It sounds a little silly, but spending so much time with Dave Karger, Alicia Malone, Ben Mankiewicz, Eddie Muller, and Jacqueline Stewart feels like inviting stable, intelligent presences into the small world of my (sometimes lonely) apartment. Their informative and contextualizing introductions have made me smarter in the way I watch film and helped me understand the impact and legacy of what I’m seeing. Most of my Christmas recommendations come from watching their holiday lineup this year, and considering how many I still have yet to watch on my DVR, I could be making Christmas recommendations for months to come!
As always, please enjoy a Round Up of what I watched, listened to, and read this month (in roughly the order I experienced them)—here’s hoping this list introduces you to more that will bring you joy in 2021. 
December Crowd-Pleasers
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Double Feature — Teens vs. Tech: Nerve (2016) + Ready Player One (2018)
If you’ve ever felt concerned about the way technology is getting artificially smarter and social media creates a toxic social atmosphere, then these are the movies for you—or maybe not? In Nerve (Crowd: 8.5/10 // Critic: 7.5/10), Emma Roberts and Dave Franco get mixed up in a wild game of crowd-sourced social media dares, and in Ready Player One (Crowd: 8/10 // Critic: 7.5/10), Tye Sheridan escapes every day to the virtual reality world of the OASIS. Nerve is a thriller, and Ready Player One finds a lot of fun with ‘80s pop culture refs (I felt very seen in that Shermer High School moment). Both feel just a few steps (and iOS upgrades) from reality.
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Limitless (2011)
Limitless almost feels like the same vein of sci-fi as the double feature above, but instead of technological advances, Bradley Cooper’s life changes when he tries an experimental drug that expands his brain power. (“You know how they say that we can only access 20% of our brain? Well, what this does...it lets you access all of it.”) While that does help him finish a long-gestating novel, it also sucks him into a world of violence that makes his story an action thriller. Bonus: This movie also led to one of my favorite Phyllis moments on The Office. Crowd: 9/10 // Critic: 8/10
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The Blacklist (2013-)
I’m not sure why James Spader always looks like he’s just finishing his last bite of a cookie when he finishes a sentence, and I’m not sure how the writers of this FBI drama drew me into their twisty plots despite my usual taste in TV. (With the exception of Angela Lansbury vehicles, I’m not typically fond of lawyer/doctor/cop procedurals.) Dad and I are well into season 2 in just a few weeks because we keep saying, “Just one more episode!”
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Passport to Paris (1999)
I contain multitudes, which is why I can recommend a TV-friendly version of The Silence of the Lambs and a Mary Kate and Ashley movie in one blog post. Passport to Paris is just ridiculous fun, and an excellent nostalgia pick for a Hulu Watch Party. Crowd: 7/10 // Critic: 4/10
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Tenet (2020)
Okay, I probably need to watch Tenet six more times to just understand just the first 20 minutes, but somehow I still enjoyed myself. (You get a similar vibe after finishing 2001: A Space Odyssey—erm, what did I just watch?) I have no reasonable answer for my dad’s question, “Why would someone make something that 98% of people won’t understand?” and all the same I’m recommending it because it kept me 100% engaged—meaning no phone in hand—from start to finish. I’m excited by the idea of more movies with John David Washington as a lead, I’m thinking about the theme and motif overlaps with other Christopher Nolan flicks, and I’m hoping someone writes a lengthy comparison of this movie with Casablanca. Crowd: 8.5/10 // Critic: 8.5/10
December Critic Picks
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Taylor Swift-palooza!
In many ways, December felt like the month of Taylor Swift. (Swiftember? Taycember?) With her second(!!) surprise drop of the year, evermore, I realized only so many artists can get me to pause my Christmas music to listen to their new work. While I heard echoes of earlier albums like Taylor Swift and Speak Now, it took me three listens to get into evermore—it may be a sister album to folklore, but it’s definitely the moody, Willoughby-just-abandoned-me Marianne to folklore’s hopeful, Edward-just-proposed-and-my-long-suffering-is-at-an-end Elinor. But its complex poetry pulled me in as it always does, which is why I also enjoyed Folklore: The Long Pond Studio Sessions on Disney+. Hearing Swift discuss the creative process for folklore with Jack Antonoff (another of my favorite working songwriters) and Aaron Dessner (with major “I’m the cool and artsy professor in their Masters program” vibes) is catnip for me. I love when artists share how they find inspiration and work it through to a finished product, and Swift is always generous with creative backstory. Now excuse me while I go listen to “my tears richochet” again and think about its overlaps with Marriage Story!
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Mank (2020)
With the release of David Fincher’s latest on Netflix, it feels like our very strange Oscars season has begun. This black-and-white riff on the writing of Citizen Kane made me want to live on the studio lots of the 1930s in all their flawed glory, and like Taylor Swift, it spoke to my love of the creative process. Crowd: 8.5/10 // Critic: 10/10
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Do You Like Apples Newsletter
DYLA is not a new discovery this month, but I didn’t want 2020 to go by without recommending one of my few must-open weekly emails. Billy Rock and Drew Wendt help you find the best on streaming services with a new theme each week. Recently they’ve covered their favorites from Pixar, George Clooney, and the Christmas genre, which is just a taste of the themes they span. Plus, they include a round up of movie news I’ve often missed during the week. Subscribe on Substack and follow them on Twitter.
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Good Reads
Well-written reads that made me think and laugh this month:
“'We've Built the Most Toxic Marriage Ever': Why Political Opposites in the U.S. Despise Each Other,” TIME.com (2020) – A good overview of how we (including myself, I’m sorry to say) villainize people we disagree with
“Quarantine Brain,” Vulture.com (2020) – An appreciation of how memes help us communicate
“The 25 Greatest Actors of the 21st Century (So Far),” NYTimes.com (2020) – You’ve got your obvious picks like Denzel and Daniel Day-Lewis, but I appreciate the shout-outs to younger stars and international performers 
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Evita (1996)
Let’s address the elephant in the room: Though she’s giving an excellent performance, Madonna is very much not from Latin America. Despite that, Evita is a thrilling musical that doesn’t feel stunted in its translation from stage to screen. I haven’t seen a live performance and am only somewhat familiar with the story of Eva Perón, so that means I can’t compare it to real life or to Broadway’s original version. But that’s more evidence this film is absorbing, moving, and well-made. Crowd: 8/10 // Critic: 9/10
December Christmas Treats
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Reindeer Games (2000)
Maybe it’s because I went in with low expectations, but Reindeer Games turned out to be a lot of fun. With character names like Rudy, Nick, and Gabriel, this is the kind of Christmas movie that wears its seasonal inspiration on its Santa suit sleeves. With a cast including Ben Affleck, Charlize Theron, and Gary Sinise, this movie finds a lot of fun in a Yuletide bank heist. Don’t watch Reindeer Games if you want an action movie as smart as Die Hard, but if you’re looking for a new-to-you Christmas movie with action and plot twists, it’s worth the watch.
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Double Feature: Bachelor Mother (1939) + Bundle of Joy (1956)
A young woman finds a baby on the doorstep of a foundling home and is mistaken for its mother—mix-ups and comedy ensue! Bundle of Joy (Crowd: 7.5/10 // Critic: 7/10) is a musical remake of Bachelor Mother (Crowd: 8/10 // Critic: 8/10), and both find fun in their silly premise. Ginger Rogers-starring Bachelor is the wittier of the pair, but don’t count out Bundle’s poppy music, colorful set design, and chic costumes for Debbie Reynolds.
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The Cutting Edge (1992)
It’s like Step Up on ice! An ice skater (Moira Kelly) and a hockey player (D.B. Sweeney) fall in love as they train for the Olympics during the holiday season. While the infamous Nancy Kerrigan/Tonya Harding incident was still two years away, it captures the public fervor for ice skating in the early ‘90s, and it’s a pretty enjoyable rom-com, too. Crowd: 8.5/10 // Critic: 6.5/10
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Double Feature — Classic Rom-Coms: Never Say Goodbye (1946) + Desk Set (1957)
In Never Say Goodbye (Crowd: 8.5/10 // Critic: 8/10), Errol Flynn and Eleanor Parker are “celebrating” one year of divorce, but if their how-do-they-find-kids-this-cute daughter (Patti Brady) has anything to say about it, they’ll be celebrating together next year as a family. In Desk Set, Katharine Hepburn is a whip-smart researcher for a TV network, and Spencer Tracy is trying to install a computer that will replace her job. Watch these romantic comedies for great chemistry between leads and for shenanigans that could only happen at Christmas (including a Desk Set office holiday party that would never happen today).
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Double Feature — Classic Dramas: Meet John Doe (1941) + The Holly and the Ivy (1952)
Meet John Doe (Crowd: 8.5/10 // Critic: 9/10) starts with a ‘30s screwball newspaper plot like His Girl Friday, but it ends as a heart-wrencher akin to Frank Capra’s better-known Christmas film It’s a Wonderful Life. Barbara Stanwyck (whom you love from other Christmas classics like Christmas in Connecticut and Remember the Night) is a journalist who makes up a story to keep her job, and Gary Cooper is hired to back up the newspaper’s wild claims. The Holly and the Ivy (Crowd: 7.5/10 // Critic: 9/10) starts with family drama and only ups the ante for its quick 80-minute runtime—everyone wants a quick exit from uncomfortable holiday gatherings! The relatable family dynamics and stellar performances from Ralph Richardson, Celia Johnson, Denholm Elliott, and more make this film worth adding to your Christmas lineup.
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Yuletide Reads
Articles that gave more insight into two of my favorite Christmas movies, Christmas in Connecticut and A Christmas Story:
“Celebrate Christmas with the Subversive 1940s Rom-Com That Turned Gender Roles on Their Head,” AVClub.com (2020)
“Can We Talk About the Mom in A Christmas Story?” NYTimes.com (2020)
SNL Round Up
All of my Saturday Night Live faves this month were holiday-themed:
“The Christmas Conversation” (4607 with Jason Bateman)
“Coronavirus Holiday” (4608 with Timothée Chalamet) – The puns! The weirdness!
“Christmas Morning” (4609 with Kristen Wiig) – My mom felt very seen by this one
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We’re No Angels (1955)
For a tinge of black comedy to pepper your Christmas schmaltz, try this film starring Humphrey Bogart, Aldo Ray, and Peter Ustinov as convicts on an unsanctioned holiday. While they plan to steal from a local family before sneaking off Devil’s Island, they and their pet snake end up becoming the key to the family’s financial and romantic woes. Just don’t ask too many questions about how they pull it off—if they told you, they’d have to kill you, too! Crowd: 9/10 // Critic: 9/10
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ZekeFilm Holiday Favorites
Over at ZekeFilm this month, our writers highlight some of our all-time favorite Christmas flicks. You better believe I gave Nancy Meyers a shout-out!
Also in December…
Kyla and I got meta on our podcast by covering a reference to Gilmore Girls on one of our other favorite ‘00s CW shows about a bright teen with a close parental relationship and rich boyfriend named Logan…Veronica Mars!
Photo credits: Quarantine Brain, Christmas in Connecticut, ZekeFilm. All others IMDb.com.
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huntytay · a year ago
My folklore analases
First of all I want to say these are ever-changing, free flowing ideas that have occurred to me upon my first 10 or so listens through folklore. There are parallel universes in music where anything could be true or possible or right or wrong. Take things from this, leave things, add, rearrange, explore. It's all just folklore.
the 1
- this is just a friggen breakup bop that she wrote like it was nothing and just slaps. Gives me Mariah Carey vibes so hard.
- there are many contradictions to her own life: a "bus stop," "meeting a girl on the internet" so she is definitely being true to her word (of her insta post she released with the album - v important read) that she is leaning into universal stories with intimate specific heightened imagery.
- I DEFINITELY appreciate the nod to "ME!" when she says "in my defense I have none for Never Leaving Well Enough Alone." Brilliant.
This is from Betty's perspective. The first of three in the trilogy.
First mention of cobblestones
Sensual politics gives me False God vibes, a lover track that hints hard at the alternative sound of this album.
"Dance under the street light" she loves street lights so much. This also calls to the lest phrase of Betty "stopped at a street light you know I miss you."
"Choose two girls, lose the one" a call to the cheating that "James" confesses to in Betty
"Kiss in cars" connects to Betty
Heartbeat on highline indicates the story takes place near NYC
the last great american dynasty
Taylor lives in a house in Rhode Island named "holiday house" by it's original owners, Rebekah & Billl, a socialite from the middle class and a Kennedy who has more money than God from oil. But when Bill died, she was a famous nobody. A trophy wife. She called her friends to come to the Rhode Island house (which a hundred years later would be where T would throw her high profile July 4th pool parties), but in the end she neglected the house and moved out of that life.
Taylor puts herself into Rebekahs shoes as the final verse and lyrics "I had a marvelous time ruining everything." Indicate she is leaving this party and moving on and out from that high profile, swimming in money and fame and the boys and the ballet, part of her life.
And where is she going, you ask?
Okay this one is a stretch and is purely my interpretation.
- on the surface, this is a song about a relationship coming to a rough, slow end
- the film they think they've seen before is honestly prolly 500 days of summer lol. But also it could be every national regime in history:
there is more under the surface of this one.
She refers to her ex lover as her "town," her "crown," and her "homeland." Maybe this isn't a person, maybe it's America.
Bon Iver (as Taylor) "I never saw the warning signs"
Taylor (as America) "I gave so many signs".
"I'm leaving out the side door."
- she's not an American Queen or Miss Americana anymore. She's "not our problem anymore."
- she's in London, probably soon to have dual citizenship when she marries Joe.
- she's openly not proud of her country or pretending everything is fine.
- it's a breakup song with a country she worked so hard to win the love of. And it's amazing
My tears riccochet
Scott Borchetta falls asleep listening to her "stolen lullabies," wears the jewels she gave him as he buries her, runs around saving face, told her that when she was brave whenever she would fight, she will haunt him with her music forever, he may have her songs but she has him - he depends on her for his survival.
"I didn't have it in myself to go with grace."
Since last June Taylor has been screaming from the rooftops about her music being stolen and she just couldn't leave big machine quietly. But now the world is behind her and supporting her, and that's how her tears riccochet - they might just come back around to bite him in the ass.
Take a moment to Google Taylor's dress at the 2018 AMA'S. This show was:
- The day after the rep tour closed
- the day after she came out as a Democrat on insta.
- the day she gave us the first Lover Easter Egg "I'm even more excited for the Next Chapter."
If you'll recall, this Easter egg led us to The Story of Us, time stamp 4:26 and we got our first single ME! on 4/26
Now, this dress also ended up being the poster for her doc, Miss Americana.
This dress also makes her a literal disco ball. The shoes that she's wearing (which can be seen in the final moments of miss americana as the archer plays), make her literally stand on her tip toes.
This is to the real fans aka the "masquerade revelers" - we aren't like the regulars. For us, she will take all her broken pieces and let light shine on her so that we can receive it. She will give us her soul in music because she knows we need it and has the spotlight on her so she can reach us this way.
I'm kind of theorizing this will be the song she floats over the crowd during her next tour (in year 2045).
"I'll show you every version of yourself tonight."
This is the job of an artist like Taylor. She has to dip into the world's consciousness (or in her case, Tumblr) and reflect it back at them. She uses her music to reflect our experience. She has always grown up with her fans and listeners and it takes a lot of sacrifice to be in the middle - in the light - in the center of the dance floor.
But, she does it for us. Because she loves us and knows we see her and get it.
"Picture me in the weeds"
"You're always dad is always mad."
"I used to scream ferociously any time I wanted."
"Cross my heart, won't tell no other"
"Passed down like folk songs, our love lasts so long"
- this is obviously a song about Taylor being seven in Pennsylvania and drifts into a folktale about a lifelong friendship
- it could almost me from the perspective of Jenny in Forrest Gump
- it's a song from one friend to another who is hurting saying "I'm here with you, let's pretend we are kids."
- the perspective of whoever James cheated with, wishing she was with James
- could be Inez but seems like Inez is just a nosy bitch
-"wanting was enough"
-"so much for summer love" - James will later ask Betty if she would believe that their affair was a summer thing.
- "august sipped away like a bottle of wine, cause you were never mine."
- "so much for summer love and saying us cause you were mine to lose."
- this is a nostalgic magical song about being young and just so in hopeless love
- a jack antonoff classic that fits perfectly next to out of the woods, getaway car, and cruel summer.
The car references and "Meet me behind the mall" seems to allude to the parking lots in illicit affairs and I kinda feel that song is part of the universe this story lives in as well.
this is me trying
I kinda think these lyrics maybe were meant for lover - the "classmates" metaphors match the imagery in that album pretty seamlessly. She also was on the cover of EW with a button that said "I tried" so maybe she was thinking about it.
It's just about resilience. Continuing to show up even when youve made mistakes and aren't sure if you will again. In a relationship or as an artist.
illicit affairs
"Leave the perfume on the shelf that you picked out just for him"
- this is a song from the perspective of the mistress of someone who is in a relationship with a woman
- it could definitely be about Karlie (you can Google theories about their alleged affair) but I think it's probably just a meditation on being Olivia Pope wanting Fitz in the early eps. But if Fitz was married to a man. Yeah, this is a gay song.
invisible string
This is a love song about Joe, who has always been her golden boy.
Joe worked at a yogurt shop when he was 16
He met her during 1989 "bad was the blood of the song in the cab" on his first to her in Los Angeles (presumably near "sunset and vine," if gorgeous is any indication).
Also I'm sure every waitress she's ever had has told her she looks like Taylor Swift because she is.
She references "the lakes" in this song which is the name of the bonus track we haven't heard yet.
She references the dive bar from the first verse of delicate.
"Time, mystical time
Cutting me open, then healing me fine" is just a quintessential Taylor lyric. Reminds me of All Too Well's "Time won't fly it's like I'm paralyzed by it. Like to be my old self again but I'm still trying to find it."
mad woman
Honestly this is just a song about shitty standards we hold women to. I personally think about AOC or Hillary but take your pick.
We also have witches, fire, etc - def calls back to I did something bad.
Also reminds me of that moment in miss americana where she's like "I'm sorry did I raise my voice in my own house about my music that I wrote about my life?"
Oh um also this song mayyyy be about Scooter Braun and his asshole wife but I don't like to think about him so I'm not gonna go into it.
- I want to make a petition to have this be featured in the final episode of Grey's Anatomy
- the first verse has some WWII imagery perhaps calling back to get grandfather in the military
- then it becomes about doctors and the Frontline workers. The ones with their hands on the plastic having to care so deeply and intimately for their patients while simultaneously having to emotionally distance themselves.
- it's interesting that this song isn't an epiphany itself, it's about Frontline workers Wishing for an epiphany to come. As Gaga says, "make it all make sense."
Betty is the last of the trilogy
Each is from the perspective of a different character "Inez, James, and Betty" this one is from the perspective of James.
In an ingenious dedication, these three characters are named after Blake livelys kids (Betty previously veiled).
It is a queer anthem in that Taylor is singing from the perspective of a boy but the song is itself about a straight relationship
This is a jack antonoff classic which goes right alongside out of the woods, getaway car, and cruel summer.
Worth noting that Taylor did a cover of "Bette Davis Eyes," another song from a male perspective about a female. Another gorgeous story song about a betty!
The long and short of it is that in August, while Betty was meeting someone behind the mall, and getting sipped away like a bottle of wine, James was having his own summer fling.
"Would you trust me if I told you it was just a summer thing?"
And the trilogy ends with some of Taylor's best lyrics of all time:
standing in your cardigan
kissing in my car again.
Stopped at a street light
You know I miss you.
The first lines of this are so important. Very much a dedication to this time. Then it gets so so personal
She again brings up the devil which is maybe a reference to Joe as she did in cruel summer
Robbers to the east clowns to the west.
Almost a hamilton reference repeating "would it be enough"
I'd say this song is sprinkles of every story throughout this album and beyond. There doesn't seem to be one cohesive narrative it's more of a superconscience of this time.
"Your faithless loves the only hoax I believe in"
"Your sleight of hand" - she often used magic imagery in reference to Joe
Could also be about Scott Borchettas "love" for her over the last 13 years of making records together.
Also Joe is almost always blue
The hero died so what's the movie for ("all of my heroes died all alone")
You knew the password so I let you in the door (ready for it mv reference where Joe's bday is the password)
I am ash from your fire - she uses this metaphor a lot in this album. I think she means that fire and ash are the same entity but one is alive and one is dead. Soulmates are stuck together like fire, meaning when they die they will be the same ash forever.
One of the major ash/ fire references is at the beginning of my tears ricy, further evidence that this song could be about Scott.
"You knew you won so what's the point of keeping score" perhaps a miss americana reference "someday we're gonna win)
"No other sadness in the world would do"
I don't know how I feel about this being the last lyric on the album compared to the first "I'm doing good I'm on some new shit), but it's just so real. We all are sad and if you are lucky enough to do it with people you love, you have to value that over anything else.
the lakes
"is it romantic how all of my elegies eulogize me?"
If you haven't heard this bonus track, figure out a way to. This is about Taylor walking away from all of it hiding with the love of her life and getting the hell out of the spotlight.
Lots of callbacks lyrically to the entire album and wraps it up in this stunning Aftershock of an epilogue.
@taylorswift these are my thoughts do you like dem?
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shanlovestaylor · a year ago
NOT TO BE DRAMTIC BUT this is why getaway car is my favorite song ever created
1. just to lay out the basics - HARD CORE BOP, SUPER CATCHY, AMAZING TO DANCE TO.
2. the storytelling/lyrics - in this song taylor manages to tell us a story of leaving a relationship she knew was doomed from the start and getting to a new one, hence the new relationship being her getaway car. she takes us on a journey of doubt, and insecurity leading to the inevitable climax of leaving the relationship in a getaway car.
3. the metaphor - taylor writes about this new relationship as her getway car. getaway cars are used to leave the scene of a crime, a way to escape something that could be punishing if you’re left or found there, at the scene of the crime. she knew the relationship wasn’t built to last so she needed to leave before things fell completely apart. again, the metaphor of leaving in a getaway car describes all of this perfectly.
4. production - THANK YOU JACK ANTONOFF. the production on this song isn’t only magical and telling, its cinematic. when you listen to this song you feel like you’re in a movie, even though the song isn’t even four minutes long. the first verse is the beginning, the setup, the plot. it’s gives us a setting and tone of the rest of the song. as the song goes on the plot thickens in the second verse when taylor sings the line “he was running after us i was screaming go go go, with three of us honey it’s a side show” giving us more characters as the production builds and emphasizes the “go go go” while becoming more and more intense. when the bridge hits there’s a key change, ( I LIVE SOLEY FOR KEY CHANGES), and this is where we get that she’s leaving her relationship behind. the production slows and she says “i put the money in the bag and i stole the keys, that was the last time you ever saw me”. the chorus kicks in and the production is heightened. this is the climax of her story when everything is standing on its end and nothing could be more exciting than that moment. the backing vocals accentuate the important lines, and as the beat slowing disappears into a fade we get that she’s riding, crying, dying, and said goodbye in the getaway car and she’s gone. to me all of this i get from the beautiful production. the storytelling and production go hand in hand as the lyrics do the explaininng and the production makes you feel the lyrics.
5. repetition without wear - no matter how many times i listen to this song it never gets old. i always get the same adrenaline rush and feel just as excited as i did the first time i heard it.
6. LIVE - the reputation stadium tour is EVERYTHING to me and the fact that it’s caputured so beautifully there is amazing. let me start by saying why she disappeared is my actual child and i love it with all my being. it was such an amazing way to introduce the song. second i love that she was alone on stage while singing it. in a packed stadium of 76,000 people it felt so personal. her way to command the stage while conveying her emotions to a mass audience is externally impressive. the visuals are so so amazing and fit with the why she disappeared and the story perfectly, the colors match the entire era in an indescribable way and her coat/dress fit the vibe of the performance. getaway car live was the chance during the show to absolutely lose it with no regard for anyone else because everyone else was losing it too. we all fell into one person for the length of the song and it’s a feeling i didn’t get at any other point during the show.
overall - this is 113% my opinion because i STAN, but getaway car undeniably is one of the best songs she’s ever written even if it’s not your favorite. there’s a specific charisma about it that’s perfect to keep just with the fans. if you’ve read all the way to this you either stan getaway car as much as i do or are just a really dedicated person. either way i appreciate it. as always, @taylorswift i love you with my whole entire heart body and soul. thank you for giving us this masterpiece, i couldn’t thank you enough for what this song has done for me 🤍
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carlyfrombleachers · a year ago
Liveblogging of TS6 (reputation)
Okay. Let me preface this by saying I don’t like Taylor Swift. I think she’s a boring artist, who brings close to nothing to the table. The reason I’m even listening to Reputation is because I keep getting recommended an interview of Jack Antonoff where he talks about New Year’s Day (which is a song on Reputation) and I really want to watch that but I also want to know what the fuck he’s talking about. So here we are. Don’t expect more stuff like this from me. I expect this to be just a one-off thing. Swifties, don’t fucking come after me or I will cry. The only other TS album I listened to was Lover, and I thought it was trash. Absolute garbage. And apparently this one is worse than Lover. I don’t know if I’ll regret this.
Let’s begin, I guess.
...Ready For It?
I keep thinking of that one voice clip from the Hannah Montana intro (?) where you faintly hear a girl say “are you ready for it?” and that’s my first impression just by looking at the title.
I’m hitting ‘play’ right now.
Oh nevermind, I forgot to pay Deezer this month. YouTube it is.
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Hey look, Ajay is in my recommended. Queen of reactions.
Help what is this
rockstar taylor??
what the fuck is up with the beat
chorus felt weak. this is my first opinion im not done with the track
i looked at the music video for 3 seconds and i saw a horse bye
i was distracted by the music video help i dont like this
since i looked at the music video for just a lil while i should say it looks weird. it is weird in a bad way it looks like some knockoff cyberpunk thing.
why didnt she just name this “Are You Ready For It?”
I’m... not particularly blown away by this track. It’s fine. I wouldn’t bop to it but I wouldn’t object to it playing somewhere. It’s like... it’s decent.
End Game (ft. Ed Sheeran, Future)
I don’t know who Future is.
she said reputation haha thats the name of the album
ok future is a rapper i dont listen to rap thats why i dont know him
after listening to lover i cant believe this is the same woman this is so weird
not looking forward to the ed sheeran part
“i wanna be your end game” this wasnt really what i was expecting
fuck off ed sheeran (i just reached his part)
according to some tabloid lady gaga mistook ed sheeran for a waiter? i would do the same thing if i saw this redhead fuckface on the street as well lol
“big reputation, big reputation, you and me got a big reputation” so deep!!!
I guess I should take this time to-- is she rapping?
Sorry, I got distracted. I don’t think every song needs to be this huge deep piece that must be deeply analyzed for centuries, but I do expect some interesting message or context for a track at least. If it sounds good, I’d also give it a pass. 
This one? This was boring. I would not verbally object to this playing close to me, I would just have a grossed out look on my face during the chorus.
I Did Something Bad
I keep reading the title in Akasaka Sad’s tune. You know the part where Rina says “A-ka-sa-ka sad, I’m a sucker”? I keep thinking “I did-I did something bad”. I don’t expect it to be like that.
“i never trust a narcissist but they love me” taylor talks about her fanbase
sorry to drag swifties publicly but i will forever take an opportunity to drag a swiftie
predictable antithesis use there with “i did something bad so why does it feel so good” but okay
why was taylor branded a snake again? she pretended it was “””gone””” with lover but like. it’s weird. its not like she punched kanye on stage in 2008 or something. i dont care enough to search for evidence that taylor is a snake so lol go off i guess
dont enjoy the post-chorus part where she’s like drddddddd dddddddd it feels so distracting the gunshots were more than enough
Yeah, this one was fine. My favorite up to this point, I think.
Don’t Blame Me
lol she said “dont blame me” then it buffered bye
i was showering for the past 25 minutes hello i was listening to track 10 and melodrama
i am enjoying this one kinda
“dont blame me love made me crazy” haha wait until you find out what your next era is
“i once was poison ivy now im your daisy” this is a pretty good line honestly
obligatory katy flop moment: haha taylor could hit the high notes in daisy
this sounds like a country song especially in the chorus i dont know what to really make of it
“loooord save me” this is why your female fans are called horse girls
This was... pretty good. The chorus weirds me out still, but it had its good moments. It was nice.
stop saying reputation in the reputation album
this autotune voice bits of hers are so distracting
i say as i listen to how i’m feeling now by charli xcx
yes i did just roast myself. gotta leave the swifties with nothing
god the music video for this track has 400m views this woman is making my faves look like indie stars LOL
I keep getting distracted because this song is boring. It’s... okay. I guess. The music video was pretty cute. Nothing caught my attention in the track, but it sounds like gym music. It would play on a gym owned by a 30-something white woman during the yoga classes and you know it.
Look What You Made Me Do
We’ve all heard this song. I’m gonna listen to it and then be done with it.
I guess I’ll just watch the music video.
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Okay. I watched the music video.
Really? All the fem guys dancing with her?
I’m not going to sit here and be like “fem guys are BAD and should all die and never be represented” because… lol. But it is kind of annoying how it was literally just fem guys dancing with her and doing all those faces because you KNOW she was looking for the impressionable gays to go “omg taylor progressive!!!!” and go talk about it on social media.
But am I saying that because I don’t like Taylor? Yes. But that doesn’t make my point less valid.
The music video was pretty good, the production on this track is really good (thank you Jack Antonoff xx) and the track itself is good. Not outstanding or perfect or a serve, it’s good.
Also the ending with all her previous eras? That was cool. The uncool part is most of the “look how rich I am” parts… because we all know you’re rich, Taylor. Nice SFX.
So It Goes…
i got an ad whyyyyyyy
fuck this shit i cant keep up with what shes saying im pulling genius out for this one
this is not lyrically deep i can tell already from genius
im not a fan of love songs i already have CRJ to cover that base and Lorde covers breakup songs I guess and this song is just. boring. lol
Nothing really shocking or noteworthy here, it’s just.. okay.
I got another ad FUCK
i got a boss baby ad help
god boss baby really was something huh i completely forgot about that
why am i talking about boss baby
okay. reputation
why did a baby say gorgeous
HELP i am so disappointed this is the one track with the lyric video and god this is disappointing
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i saw this and i was like “oh shit shes gonna talk about how its gonna be gorgeous when u die” or smth and
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lol. LOL. the depth is nonexistent and the bar is in hell
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who wrote this? you lied
This song is so boring, LOL. I expected so much from it and was instantly disappointed when the pre-chorus hit. You had everything on your plate and you ate the plate itself. Girl. What the hell. Why. You could’ve given us an anthem about hating your man, and you took the easy route.
Getaway Car
im intrigued
okay im listening and this sounds very jack antonoff? the shotgun thing made me immediately go o_o
it felt a bit weak at the end but at the start i was enjoying it quite a lot… i think this is my fave
I enjoyed this one quite a lot :) It was pretty good but not an amazing masterpiece. It was better than LWTMMD and that’s all I have to say.
King Of My Heart
sounds boring haha
taylor keeps putting these trap beats in things sister youre not lorde LOL
yeah this is kinda boring
i dont. i .. i knew this would be happening but i didnt expect it to be the last one
i guess the timing is accurate ha ha ha ha
i just heard ariana grande
I keep hearing Ariana Grande on this track. Is that good? I don’t know.
Dancing With Our Hands Tied
why are there so many songs in this fucking album
the beat is.. okay. it is catchy
oh i like this i think. its pretty nice
the chorus is nice. yes. i do kind of enjoy this
Yeah, I liked this one. Pretty good writing, and it sounds great.
wtf is this song why is it so horny
horny taylor is weird stop being horny please
this song is okay i would not revisit it because its just weird. do not like this!!!
when carly rae jepsen says slide on through my window it is funny but when taylor sings i bought this dress so you could take it off i die
oh that second of silence was really good
[looks at the producer] [it’s jack antonoff] :)
This song weirds me out. I don’t like it. It had its moments production-wise but it was... weird.
This Is Why We Can’t Have Nice Things
I expect good things from this. With a title like that? Give me a bop.
Currently not being a bop.
Okay, it was cute. Nothing amazing. Just… fine. Cute attempt.
oh i liked the spoken part thats what i expected from this song
Call It What You Want
this is about genitalia this is my prediction
It was not about genitalia.
This song is pretty good if you remove all the mentions to her lover and her man and her baby, which are all the same person, I guess.
This is disappointing.
umm anyways
I expected so much from this track and the chorus just… disappointed me.
i love this man im gonna cry
The highlight of this song is the part where Jack Antonoff sings.
New Year’s Day
wow the reason why im doing this shit
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look at him. :)
this song was cute. nothing special. just cute. very okay.
just. okay. yeah. pretty fine.
nothing special.
Final Thoughts On The Album
It was better than Lover.
I expected this to be a concept album, all about the drama she’s gotten into? But it was just boring love songs with some extra flair. I expected great things from this album, having only heard LWYMMD from it before this. A concept album that’s just an answer/clapback to everyone’s who wronged her à la Yellow Flicker Beat (I know it’s for a movie but that song slaps and I don’t know a thing about Hunger Games) would’ve been PERFECT but it was just... love songs. I need Taylor to stop singing about love and start serving us big meals.
I would not like to revisit this. Like, 5/10. It could’ve been a lot better, but it wasn’t because you’re too afraid to cross some lines, Taylor.
Final Ranking:
Dancing With Our Hands Tied
Getaway Car
Look What You Made Me Do
I Did Something Bad
Don’t Blame Me
New Year’s Day
Call It What You Want
...Ready For It?
This Is Why We Can’t Have Nice Things
So It Goes...
End Game (feat. Ed Sheeran, Future)
King Of My Heart
taylor flop stream gone now
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slowmotiondoublevision · 3 months ago
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hey i’m never the same, it’s 100 miles an hour on a dirt road running away
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