#and I feel like that may be a theme for TTPD

[wavesoutbeingtossed]

With all the discussion yesterday I am once again thinking about the way grief/loss is portrayed in her last few albums and thinking thoughts I maybe can’t fully articulate re: TTPD

[goldfades]

𝐅𝐔𝐂𝐊 𝐈𝐓 𝐈𝐅 𝐈 𝐂𝐀𝐍'𝐓 𝐇𝐀𝐕𝐄 𝐔𝐒 ─ AS³⁷

TRACK 4 ─── DOWN BAD

TTPD CELLY MASTERLIST !

౨ৎ ─ summary | one summer, one town and the fullest love you've ever felt all to be ripped away from you. life was pointless without the love of your life, your soulmate (even if you'd only known him for three months).

─ word count | 3.4k

─ warnings | dramatic af, oh god, so so so so so much angst WITH NO HAPPY ENDING (ur gonna cry by the end of this), where do i even begin? love bombing, LYING AF, andrei being mysterious asf, mention of life being hopeless, very depressive themes and like.. babygirl is GOING THROUGH ITTTT, maybe even suicidal themes (depends on your perspective), lmk if i missed anything else?

─ ev's notes | down bad has been on repeat since friday, it's genuinely so addicting (but like... the entire album is so?)

YOU LIFE FELT ABSOLUTELY hopeless, like the color was drained from it.

How could one summer change the whole trajectory of your life, you're not sure. Your entire perspective of love had been turned upside down, each day felt like a struggle just to breathe, let alone find any semblance of meaning or joy. It was as if the universe had conspired to strip away every ounce of hope, leaving behind only an empty shell of a person.

How could you let someone con you so easily? Make you believe that you were his soulmate, only to absolutely wreck you? You couldn't help but wonder if he felt even a shred of sympathy and if he ever stopped to think about you, like you did with him?

How could you have been so naive, so blindly hopeful in the face of his deceit? The wounds he inflicted cut deeper than mere flesh and bone; they pierced straight to the core of your being, leaving behind scars that may never fully heal.

You could barely get out of bed ─ you can't even remember a time when you didn't know him, even if you'd know him a short span of time. The weight of his absence feels like a physical force, pinning you down to the bed as if gravity itself has conspired against you. How could you go on without him, when every corner of your world still echoes with his presence?

It's as if he had woven himself into the fabric of your being, leaving no thread untouched by his influence. Even the simplest of tasks feel overwhelming without his guidance, his encouragement, his love.

You try to remember a time before him, a time when your heart beat to a rhythm untouched by his melody. But the memories blur together, distorted by the prism of his existence. It's as if he had always been there, a constant presence in your life, one way or another.

──

"Are you a local?"

You turned around to face the voice that had drawn you out of your thoughts, an annoyed expression on your face. But as you looked up to meet his chocolate brown eyes, all the irritation had quickly dissipated.

First, you noticed his eyes ─ they were so big and brown, you could feel yourself get lost in them. Then your gaze fell to his lips and ultimately, his smile and his dimple. Whoa, he was gorgeous.

"Uh, yeah." You got out as you managed a smile, turning to face him completely.

His smile widened at your response, and you couldn't help but feel a flutter of warmth in your chest at the sight of it. It was infectious, lighting up his face in a way that made it impossible to look away.

"Great!" he replied, his voice sending a shiver down your spine. "I'm here on vacation. Any recommendations on where to grab a bite to eat?"

His voice carried a hint of a Russian accent weaving through each word like a thread of silk. It added an extra layer of intrigue to his already captivating presence, drawing you in even further.

"Actually, there's this little café a few blocks down the street that serves amazing sandwiches," you offered, your voice betraying a hint of excitement. "I could show you, if you'd like."

God, what were you doing? You didn't even know what you were saying before the words flew out of your mouth. To your surprised, his smile widened into a grin as he nodded.

His eyes sparkled with amusement as he nodded in agreement. "I would love that," he replied, his accent lending a charming cadence to his words.

As you stood up from his seat, you took in his build; you just realized how tall he was. He towered over you, his frame exuding a quiet strength that only added to his allure. It was as if he commanded the space around him effortlessly, a gentle giant in a world full of noise.

Together, you made your way out of the café and onto the street, the sounds of the city fading into the background as you fell into step beside him. His presence was comforting, reassuring, like a steady anchor in the midst of chaos even though you'd just met the stranger.

As you walked, you found yourself stealing glances at him, admiring the way the sunlight caught in his hair, the way his eyes crinkled with laughter at something you said.

Arriving at the café, you found a table by the window. As you settled in, the conversation began flowing effortlessly between you. With each passing moment, you felt yourself drawn deeper into his orbit, captivated by the way his presence seemed to fill the room with warmth.

"So, what do you do, Andrei?" You found yourself asking as he paused for a moment, taking a sip of his drink before sighing.

"I'd... I'd hoped you didn't ask that." Andrei's tone came out amusing but you could hear the sincerity, too. "I play for the Hurricanes. A hockey team."

You couldn't help but raise an eyebrow in surprise at Andrei's revelation. "The Hurricanes? That's impressive,"

"It is, but it's very demanding. That's why I came here," he explained as a smile began playing on his lips. "To get away from everything, even just for summer."

"Why would you want to get away?" You asked, your curiosity getting the best of you. As you registered your words, you shook your head as you sighed. "You don't have to answer that."

Andrei's smile softened, a flicker of gratitude shining in his eyes at your understanding. "No, it's okay," he replied, his voice carrying a note of sincerity. "Sometimes, even the things we love can become overwhelming. I guess I just needed a break, a chance to clear my head and remember what's really important."

"I get that," you said, a small smile playing on your lips. "Sometimes, we all need a moment to step back and breathe, to remind ourselves of who we are outside of our titles and our accomplishments."

Andrei's gaze softened, a silent understanding passing between you. In that moment, you felt a weird connection for a moment. He let out a small chuckle as he looked away, a tinge of redness enveloping his cheeks.

"You wanna get out of here? I still haven't seen the beach and I've been here for two days." Andrei's voice was amused as his gaze finally flickered back to you.

His chuckle was infectious, and you couldn't help but feel a warmth spread through you at the sight of his flushed cheeks. There was something endearing about his candidness, a rawness that drew you in even closer.

"Absolutely," you replied, a grin tugging at the corners of your lips.

After that, the two of you spent every moment together. You didn't know why you were so drawn to him ─ it wasn't just how abosolutely beautiful he was, that wasn't even a factor after you'd spent the whole week with him. It was something more, something raw you hadn't felt in a while ─ or maybe even ever.

In Andrei's presence, you felt as if you were seeing the world through new eyes. He showed you the beauty in the simplest of moments ─ the way sunlight danced on the water, the sound of laughter echoing through the streets of your hometown that you'd walked in a million times (somehow, it was different now with him), the warmth of a shared smile exchanged between two strangers.

But it wasn't just the external world that he illuminated for you; it was your own heart. With each conversation, each shared comfortable silence, he peeled back the layers of your soul, revealing the raw, unfiltered truth that lay beneath. In his arms, you felt safe, cherished, loved in a way you swear you'd never experienced before. It was a love that transcended the physical, a love that touched the very core of your being and left you breathless with wonder.

And as you lay beneath the stars in his arms, the night sky stretching out above you like a vast canvas waiting to be painted, you felt a sense of peace wash over you. For in Andrei's embrace, you had found something real ─ something cosmic and eternal.

──

"Do you ever wonder," he begins, his voice soft but filled with a sense of wonder, "if there's more to the universe than what we can see?"

You both gaze out of the bay window for a moment, the night sky stretching out before you like a vast canvas scattered with stars.

"It's... it's something I've thought about," you reply, your voice barely a whisper in the quiet of the night. "The universe is so vast, so incomprehensibly large. It's hard to believe that we're the only ones out here, you know?"

Andrei nods in agreement, a knowing smile playing on his lips. "Exactly," he says, his gaze returning to the stars above. "I like to think that there's something out there, something greater than ourselves. Something that binds us all together, even when we're worlds apart."

"Yeah," you replied, your voice barely audible. "All the time, actually. It's... overwhelming, sometimes, to think about how big the universe is, how insignificant we are in comparison."

Andrei nodded, his gaze fixed on the stars twinkling in the night sky. "But isn't it also kind of liberating?" he mused.

"To know that we're just a small part of something so much bigger than ourselves? It makes all our worries and fears seem so... trivial, in the grand scheme of things."

"You're right," you said, a sense of wonder creeping into your voice. "It's like no matter what happens in our lives, the universe will keep on spinning, the stars will keep on shining. It's... comforting, in a way."

Andrei smiled, a warmth spreading through you at the sight of it. "Exactly," he said, his voice filled with quiet certainty.

A comfortable silence filled the air before he spoke up again. "You know... when we met, when I said I wanted a break?" A pang of uncertainty flickered within you at his words, but you nodded, inviting him to continue with a gentle tilt of your head.

Andrei's gaze softened as he reached out to take your hand, his touch grounding you in the present moment. "I didn't just mean from hockey," he confessed. "I meant from everything ─ the pressure, the expectations, the constant scrutiny. I needed a break from the world, from myself."

His words hung in the air, heavy with the weight of truth. You listened in silence, feeling the gravity of his confession settle over you like a blanket.

"I came here seeking some kind of relief from the chaos of my life," Andrei continued, his eyes searching yours for understanding. "But what I found was so much more than that. I found you."

The sincerity in his voice struck a chord deep within you, stirring emotions you had long kept buried beneath the surface. In that moment, you realized just how much he had come to mean to you, how integral he had become to the fabric of your existence.

You'd felt like you'd known him lifetimes but in reality, you'd only known him only a couple weeks. And yet, in those fleeting weeks, Andrei had become more than just a passing acquaintance; he had become a beacon of light in the darkness, a source of comfort in a world of uncertainty.

──

Andrei's arms wrapped around your waist as you both watched the sunset go down. His large frame practically engulfed you as he stood behind you, his chin resting on your shoulder. The warm summer breeze caressed your skin, carrying with it the scent of salt and sea. You leaned back into Andrei's embrace, feeling his hands squeeze your hips.

"Let's go for a swim, yeah?" Andrei's breathe hit your neck as he spoke, sending shivers down your spine as his warm breath danced across your skin.

His suggestion brought a smile to your lips, the idea of plunging into the cool embrace of the ocean sounding utterly inviting. You turned in Andrei's arms, a playful glint in your eyes as you met his gaze.

"Are you sure?" You teased, a mischievous smile tugging at the corners of your lips. "The water might be colder than you think."

Andrei's lips curved into a smirk, his eyes dancing with excitement. "Only one way to find out,"

"Wait, Andrei-" Before you could protest more, Andrei pulled you up on his shoulders. You let out a fit of giggles as he carried you out to the deeper waters, his strong arms supporting you effortlessly as you clung to him, your laughter mingling with the sound of the waves crashing against the shore.

"Ready?" Andrei called over his shoulder, his voice filled with excitement.

You nodded, your heart pounding with anticipation. With a smirk, Andrei took a few more steps forward, and then, without warning, he jumped, sending you both crashing into the cool embrace of the ocean.

For a moment, you were weightless, suspended in the currents, the sound of laughter and splashing filling the air around you. And as you surfaced, gasping for breath and laughing with joy, you felt a sense of freedom wash over you ─ a freedom that only comes from letting go and embracing the spontaneity of the moment.

Andrei's laughter joined yours as he helped you to steady yourself in the water, his eyes sparkling with mischief and joy. "See? Wasn't so bad, was it?"

You grinned up at Andrei, the exhilaration of the moment coursing through your veins. "Definitely not."

Andrei grinned, his smile lighting up his face as he tugged you closer, his arms wrapping around you in a warm embrace. "I'm glad you enjoyed it."

He stared into your eyes, the grin still on his red face before he grabbed your chin and pushed his lips against yours. You wrapped your arms around his shoulders, pulling him closer.

As you deepened the kiss, losing yourself in the intoxicating sensation of his lips on yours, you knew with unwavering certainty that this was where you belonged; in his arms, consumed by love.

His touch was electric, sending sparks dancing across your skin as you lost yourself in the intoxicating sensation of his lips moving against yours. And as you finally pulled away, breathless and flushed with emotion, you found yourself lost in the depths of Andrei's gaze. In his eyes, you saw a reflection of your own desires, mirrored back to you with an intensity that left you breathless.

He caught his breath as he laughed, giving your cheek another kiss. "I don't know how to explain how I feel about you, it's something I don't think I've felt in a long time. Or... ever."

"I feel it too," you whispered, your voice barely more than a breath of air. "Whatever it is, it's real. And that's all that matters."

Andrei's gaze softened, a smile playing on his lips as he reached out to gently caress your cheek. "I'm just glad we found each other," he said, his voice filled with quiet certainty. "And no matter what the future may hold, I'll always be by your side. You're like..."

He paused as he laughed, shaking his head with amusement. "My soulmate, or something like that."

You couldn't help but smile at his playful tone, feeling a surge of affection well up within you. "Your soulmate, huh?" you teased, "I can live with that."

Before you could fully grasp it, it had slipped away, fleeting in its passing. It was over before it even fully started. The summer had come to a close, and Andrei was talking about leaving back to Carolina.

You knew it was coming, of course it was coming. He had to go back to his home, where he worked, where his everything was. What about you? Hadn't you become his everything, just as he had become yours? Where did you fit into his world once he was gone?

And then one morning you awoke and he was gone.

It felt like something you'd seen in a movie, or read in a book. Confusion clouded your mind as you glanced around the room, searching for any sign of him. But as your gaze fell upon the empty drawers where his clothes once laid, reality came crashing down around you.

It was over.

The realization hit you like a tidal wave, sweeping away the remnants of the life you had built together over the summer. And in that moment, you felt a profound sense of loss wash over you, a hollow ache that echoed in the depths of your soul. You had known it was coming, of course. He had obligations, a life waiting for him back home. But that didn't make the pain any less palpable, the sense of abandonment any less hurtful.

Was all of it a lie? The laughter, the whispered promises, the moments shared beneath the stars – were they nothing more than empty words, hollow gestures meant to deceive?

The days following his departure, it felt hollow. It felt like you'd awoken from a daydream, something that only existed in your head. Was it really not as serious as you'd thought? Was he really not in love, as you were with him?

Life loss all of it's meaning, you never thought you'd be that girl: the girl who let a man absolutely reroot her entire life, just for him to leave. Had you really become that pathetic?

The days turned into weeks and the hollowness didn't fade, it turned into numbness then ultimately into a sense of emptiness that seemed to permeate every aspect of your being. It was as if a part of you had been hollowed out, leaving behind nothing but a void that echoed with the absence of his presence.

As the days turned into weeks, you found yourself grappling with questions that had no answers. Was it all a lie? Had he ever truly cared for you, or were you just another pawn in his game? Had you ever really known him, your Andrei? The one who held you, laughed with you, whispered promises of forever beneath the stars? Or had he been someone else entirely, a stranger acting as the love of your life?

The uncertainty gnawed at you, a relentless beast that refused to be tamed. You replayed every moment, every word, every touch, searching for clues that would unravel the mystery of his true intentions. But the more you searched, the more elusive the answers became, slipping through your fingers like grains of sand.

You found yourself crying every night, every free moment you spent bawling your eyes out over a man you're sure you'd never really known, just another stranger who had walked into your life and turned it upside down.

The pain was like a physical ache, a weight pressing down on your chest until it felt like you could hardly breathe. How could someone you had cared for so deeply have caused you so much pain? How could you have been so blind to the truth of his intentions?

You needed him again, life felt meaningless ─ no, life was meaningless without him. Nothing felt worth having without him. Without him, life felt like a barren wasteland, devoid of color and purpose. Every moment seemed to stretch on endlessly, each day blending into the next in a monotonous haze.

You found yourself longing for his presence, for the sound of his laughter and the warmth of his embrace. Without him by your side, even the simplest pleasures felt empty, leaving you adrift in a sea of loneliness. What was the point of it all, you wondered, if he wasn't there to share it with you?

No one would ever make you feel like he did, no one would ever manage to love you like he once had. It was a truth that cut to the core of your being, leaving you feeling exposed in its wake.

How could you ever hope to find happiness again when the one person who had made you feel truly alive was now gone from your life?

You tried to fill the void with distractions – with work, with friends, with anything that would help numb the ache of his absence. But no matter how hard you tried, the emptiness remained, a gaping wound that refused to heal.

In the depths of your despair, you found yourself questioning everything ─ your worth, your purpose, your very existence. What was the point of it all, you wondered, if he wasn't there to share it with you?

[the-cards-she-wont-show]

TTPD Twin Storylines weaved together & double meanings throughout! ✌️👯‍♀️💕

Attention ALL Swifties (particularly Gaylors) and associates of the Tortured Poets department

PLEASE READ!! (and read with an open mind!!)🤍

Listening to the amazing TTPD on repeat this past week, I am certain that I have made an important discovery that I haven't seen talked about anywhere else yet and would like to get the coversation going, in hopes that Taylor will see that we are all finally listening to her! I'm still piecing everything together, as there is so much to unravel and am far from calling myself an expert on her exact timelines and dates, so am looking forward to hearing thoughts from others that are more knowledgable in her history.

I have been of the belief for a while now that Mastermind and Dear Reader were foretelling of her future, and also that the album title had a double meaning (evidenced by the lack of apostrophe in 'poets'). That the tortured poet would be departing. Note that I am also a believer that she has been closeted by those closest to her and is preparing to ruin her name and perceived reputation, give up the false public version of herself and come into her own true self. Everything as we know it will be destroyed and it is all playing out now, coming together as part of her plan.

Falling in line with all of the two's - the double album, the double meaning in the album name, the two sides of taylor etc, I have found that there are two intertwining stories told throughout her tracklist, AND that all songs also have a double meaning!! None of which are about the perceived muses of Travis, Matty or Joe. The 'evidence' for those relationships are all red herrings (for example 'putting narcotics into all of my songs' - but only in the songs with obvious reference to her beards), to make it seem ambiguous and open to interpretation of who the songs may be about, which is seen often throughout her discography. She uses an incredible amount of metaphors and we must look beyond those to decipher her lyrics - do not take anything at face level with Taylor. Most should realise that she is so much smarter than making obvious songs about whichever male muse she is 'dating' at the time. She has always played into that public view to cover her true self. Many songs have themes of secret and hidden love, which juxtaposes with the public 'relationships' she is seen as having.

She tells us in 'The Manuscript' that "lookin' backwards might be the only way to move forward". Therefore we must listen to TTPD in reverse, from track 31 (13 reversed!) to track 1. I believe The Manuscript also acts as a bookend for both of her stories and should be listened to as a closer after the last song of the story 'Fortnight' ends, to get a complete picture. Once we have listened to the album in reverse order, can we see so plainly that each song tells a different story of a period/situation/muse/love/heartbreak in her life - beginning at her parents meeting in The Manuscript, to current day. I think the songs may also actually have a sister song from the corresponding album/period in time, with similar sound, lyrics or theme that connects them. I believe that each song also has a double meaning and can be interpreted as messages to her fans about things that have happened to her over the years or that are about to happen, and she is trying to communicate her feelings of being trapped, which is honestly so heartbreaking. Many relate to her being caged and forced to hide her true self, in particular by one person closest to her - her father. It is devastating to listen to.

The really brilliant part I discovered next, is that The Anthology tracks also have another hidden storyline being told which intertwines and intersects in the exact right place to fit in with her life story. It includes all of the "THE" songs and is in reverse order from the parallel life story and vinyl variants order of issue (but chronological track list order).

The Tortured Poets Department

The Smallest Man Who Ever Lived

The Alchemy

The Black Dog

The Albatross

The Prophecy

The Bolter

The Manuscript

Rather than presenting my interpretation of the timeline and each story told in every song, I urge everyone to listen to both stories, in these exact orders, with an open mind as to what she could possibly be describing! My mind was completely blown when I figured this out!! Her mind is incredible, there is no other way to describe the album, other than a masterpiece! I feel so much for the pain she has gone through. This album explains her feelings and reasons for hiding her true self over the years for any fans that will inevitably be feeling upset and deceived. We all need to show compassion for everything Taylor has sacrificed and give her what she needs. She truly deserves love, honesty, happiness and peace. ✌️💜

I'm in the process of creating a document trying to piece all of the hidden connections together just to wrap my head around this amazing body of work, so may possibly link this when I have it completed, otherwise I will add it to this post for anyone that might be interested.

I have a couple of extra personal thoughts, theories and hopes for anyone still reading…

The manuscript of her life story may possibly be the manuscript for a future book/film.

I think one meaning of "Fortnight" is a foretelling message to the fans that havent been noticing any of her many hair pin drops - she has been trying to get the message across but they aren't listening. For the fans she loses when she comes out - she touched them with this album for only a fortnight, before she lost them. She loves the fans but staying in the closet is ruining her life. I think something big could be happening a fortnight after release? Friday 3rd May is International Sun Day. ☀️ Karlie Kloss was always 'sunshine' to Taylor. According to Karlie, their first meeting was at the 2011 Met Gala on May 2, however, there is a possibility that they could have met at the afterparty - after midnight, making the anniversary May 3! 2024 Met Gala is a few days later, could they both make an appearance? If nothing big occurs, perhaps some seeds of doubt will be planted on the 3rd? Or.. It could also be a surprise rep TV (with or without Karma and Debut - surprise triple drop?) with wlw vault tracks?! Who really knows.. I honestly have no idea, but whatever happens, I know Taylor has it all meticulously planned out and everything will happen when it is supposed to.

Taylor is chairman of the Tortured Poets department - the leader of the mass coming out we are about to see. As Chely Wright put - 'we need someone at the top' to come out and pave the way for others to do the same, and to stop the forced closeting in the celebrity world. I think Travis and the majority of her former beards are also queer and there will be many more 'tortured poets' that will join 'the department'.

Karma will be album 1 (TS12) in the 3,2,1 countdown, TS13 is 0 - the album in which she gets all of her full colour back, reclaims her glitter gel pens and finally can sing her truth proudly! She has destroyed her own name and reputation, burnt down the lover house and all her former selves.

Last of all, PLEASE BE KIND! If anyone has made it to the end of this and doesnt agree, I'd love for you to have a listen to the songs in the orders above before commenting. If not, lets just agree to disagree! We all have our own personal takes on Taylor's lyricism and I would never dream of being unkind to another just for having a difference of opinion. 🫶

For Taylor - if you somehow happen to see this - please know you are truly a mastermind, you are loved and we've got you!

🌈💛💛💛💛💛💛💛💛💛💛💛💛💛🌈

❤️ gerimegs

[foxes-that-run]

loml

The title of this song refers to both love of my life and loss of my life. Harry's only track 13 is Love of My Life. Like Harry's LOML, loml is a song about letting a long held love go. Both are regretful of love lost but neither over it. As a song about a long museship the references to both Taylor and Harry's work is dense, so this post is long. A shorter TLDNR is here. The nature of the relationship Taylor is describing is one that should have a lot of references, and it does. Each chorus refers to a different song where Harry professed love.

The initial Spotify Canvas was of Taylor in a sweater looking emotional. After Fortnight was released it was replaced with Taylor and Post inside the Style-head reading Story of Us on the road. Taylor played loml once as a surprise song on piano in Paris, with Paris in the first show after their release on 9 May 2024.

Lyrics

[Verse 1] Who’s gonna stop us from waltzing back into rekindled flames If we know the steps anyway? We embroidered the memories of the time I was away Stitching, “We were just kids, babe”

The first verse establishes that Taylor is singing to an old muse at the end of a breakup, or false start. She refers to them being together in their youth, of wistful memories and that the love is irreplaceable. It is full of references:

Waltzing back into rekindled flames, Taylor refers to dance as a kind of subconscious action in several songs, this reminds me most closely of 'Dancing around it' in High Infidelity and 'Dancing is a dangerous thing' in Cowboy Like Me - where the dance is also tempting a romantic relationship, they know the steps - as in they have fallen into this before.

Embroidering memories touches on the Haylor theme of stitches. 'Away is in a lot of Taylor's songs. 'Taylor' embroiders in EHC and LK posted about embroidery after TTPD

'While I was away' reminds me of AYHTS "People like you always want back the love they gave away" and Midnight Ran's "the life I gave away" - a similar idea that she was absent.

Stitching 'We were just kids babe' is a reference to Patti Smith's Biography 'Just Kids' which is her memories about her time with fellow artist Robert Mapplethorpe who died of Aids. Taylor also refers to this time in Patti Smith's life in TTPD. Patti thanked Taylor for the callout with posting a photo of her reading Dylan Thomas' biography. This line establishes this muse is a fellow young artist who Taylor had an important relationship with when they were young. Taylor & Harry have likened themselves to famous couples

I said, “I don’t mind, it takes time” I thought I was better safe than starry-eyed I felt aglow like this Never before and never since

'I don't mind, it takes time', this idea is referred to in Peter also and other Haylor songs:

Run: Piece of paper where I wrote, “I’ll wait for you”

How You Get The Girl: I would wait forever and ever

“Slut!”: Everyone wants him, that was my crime, the wrong place at the right time

Say Don’t Go: The waiting is a sadness fading into madness

"I thought I was better safe than starry-eyed" - the prologue describes three muses, as does the Fortnight MV. One has celestial imagery that links to Satellite, such as stars, comets, orbit, planet and whole sky. Starry-eyed is in a few songs including:

CIWYW - Starry eyes sparking up my darkest night

Cowboy like me - Eyes full of stars

High Infidelity - Do I really have to chart the constellations in his eye

Better safe than starry eyed also reminds me of "How dare you think it's romantic / Leaving me safe and stranded" in Down Bad that refers to New Romantics "Please leave me stranded"

'Never felt aglow like this', 'never before and never since' is a glowing irreplaceable connection. Taylor described similar in:

This Love - This love is glowing in the dark

Question...? - Does it feel like everything's just like second best after that meteor strike?

[Chorus 1] If you know it in one glimpse, it’s legendary You and I go from one kiss to getting married Still alivе, killing time at the cemеtery Never quite buried

I knew from one glimpse, it was legendary, we go from one kiss to getting married is a reference to Holy Ground:

“Back to a first glance feeling on New York time/ Back when you fit my poems like a perfect rhyme/ Took off faster than a green light, go : Yeah, you skip the conversation when you already know”

A similar line is also in Glitch - "Five seconds later, I'm fastening myself to you with a stitch"

‘Still alive at the cemetery’ is similar to The 1: “In my defense, I have none / For digging up the grave another time” which in turn is a reference to the OOTW/LAWYMMD music video link where Taylor from the end of 1989 is Taylor at the start of the next video.

In your suit and tie, in the nick of time

‘In your suit and tie’ is dressed for a wedding. Arriving ‘in nick of time’ is the muse interrupting a wedding saying “don’t do this there’s still time!” Which Taylor said of Harry, when describing the muse of Style and 1989 Taylor said she expected this. Here she is saying she was fooling herself.

You low-down boy, you stand-up guy You Holy Ghost, you told me I’m the love of your life You said I’m the love of your life About a million times

“Low down boy; you stand up guy” is a person who has been in Taylor’s life since they were a boy (with a dirty mouth) who has grown to be a stand up guy. They are now grown but not with her.

Taylor then refers to Harry’s music, Holy Ghost refers to Two Ghosts and refers to Love of My Life by name. In which Harry says it 5 times, he’s performed it 102 times to around 700k fans, so yeah, a lot. Note it's “said” not “told me”.

[Verse 2] Who’s gonna tell me the truth when you blew in with the winds of fate And told me I reformed you? When your impressionist paintings of heaven turned out to be fakes

Taylor refers to truth often, but usually her telling or seeing a truth, But in the Alcott the muse tells her the truth and she says she she has fallen back in love with the muse. I imagine in Taylors life many do not tell the truth, but this muse can and does. Here Taylor asks if they will still tell the truth if they are together.

The muse told Taylor she reformed them. Harry says this in Stockholm Syndrome, that he "used to sing about being free but now he has changed his mind". On 13 May 2023 Harry added Stockholm Syndrome to the HSLOT set for the last 18 shows. A song he he wrote for Taylor when they were dating and had not performed since 2018.

The impressionist paintings may refer to the Two Ghosts music video, which was or became tour screens. (Thank you @notoriousbeb) The reference to fakes is where an overture of love did not come through.

Well, you took me to hell too And all at once, the ink bleeds A con man sells a fool a get-love-quick scheme But I’ve felt a hole like this Never before and ever since

The second half of this verse links back to past writing to each other

'And all at once, the ink bleeds' I LOVE this line so much. It has a double meaning, the ink bleeds as Taylor writes music inspired by a museship that has featured in so much of her work. The ink bleeds like emotion bleeds as the bleeding love theme.

"A conman sells a fool a get love quick scheme" this line is dense:

In Why She Disappeared, the poem played before Getaway Car in the Reputation Stadium Tour included "Wary of phone calls and promises, Charmers, dandies and get-love-quick-schemes"

Harry and Taylor have referred to each other as robbers, thieves, cowboys and now a conman see thief theme

Harry and Taylor have both referred to themselves as a fool many times for being stuck on each other.

Never felt a hole like this before or since is crushing, it reminds me of Questions...?'s "Does it feel like everything's just like second-best after that Meteor strike?"

[Chorus 2] If you know it in one glimpse, it’s legendary What we thought was for all time was momentary Still alive, killing time at the cemetery Never quite buried You cinephile in black and white All those plot twists and dynamite Mr. Steal Your Girl, then make her cry You said I’m the love of your life

In the second chorus Taylor again refers to songs by Harry, but changes which ones:

Mr Steal Your Girl refers to One Directions Steal My Girl.

B&W Cinephile may refer to when Harry kept his Instagram B&W for 2 years from when 1989 was released with the line 'the rest of the world was in screaming color' it may also refer to the Treat People With Kindness music video in B&W and widescreen. Harry is also a cinephile, both in being a fan of cinema and appearing in more recent films than her actor partner at the time.

[Bridge] You shit-talked me under the table Talking rings and talking cradles I wish I could un-recall How we almost had it all Dancing phantoms on the terrace Are they second-hand embarrassed That I can’t get out of bed ‘Cause something counterfeit’s dead? It was legendary It was momentary It was unnecessary Should’ve let it stay buried

Taylor acts this lyric out in fortnight in the eras tour.

Shit-talking can mean either disparaging remarks or saying something untrue and going on about it. Talking, (or drinking) someone under the table is doing so in excess. So I take this first line 'shit-talked me under the table' to mean the muse went on saying untrue things for ages, in the context of the rest of the verse I think that is making statements of love they were not yet willing to follow through on.

Taylor sees they were so close, a similar line is in TTPD there is a similar line of 'litany of reasons we could have played for keeps this time' Taylors muse has professed love and that they are endgame but not followed through.

In the Only Angel Demo Harry sang "I must admit I married you a thousand times. Had to change my tune when I found out what it'd be like."

Counterfeit is also in Glitch "It must be counterfeit, I think there's been a glitch"

The shit-talk is rings and cradles, in a time that Taylor was disappointed a long term relationship ended another long term muse flirted with settling down but did not. Harry wore the Peace Ring and Haylor ring for years, they seemed as possible promise rings which these lines remind me of. As do songs of both which may refer to the other. The Haylor ring is featured in merchandise for TTPD and Taylor wears it in the Fortnight Music Video so it is likely this ring.

[Final Chorus] Oh, what a valiant roar What a bland goodbye The coward claimed he was a lion I’m combing through the braids of lies “I’ll never leave,” “Never mind” Our field of dreams engulfed in fire Your arson’s match, your somber eyes And I’ll still see it until I die You’re the loss of my life

The final chorus reads as a bitter disappointment of Taylors muse has meekly said they will not be with her.

Stockholm Syndrome - which Harry readded to his setlist 13 March 2023 (gone since 2018) has the line "Baby, I'll never leave if you keep holding me this way, oh o-oh" Here Taylor has compared it to what looks like a goodbye statement from someone who doesn't want to talk about it.

It is the loss of Taylor's life, one she felt at the time of writing this song was not one she would get over.

Valiant Roar

The 'valiant roar' is likely a reference to Harry's Gucci Lion ring which he has worn since 2018 and briefly lost in April 2022 at Coachella. It attracted a lot of attention until it's return when it was learned it has an inscription of 'second time's the charm'. Taylor also wore a Gucci Lion ring at Electric Lady Studios on 12 April 2023 (before heading to Florida). At that time the 1975 were in Australia and Harry was in the US after a golf tournament in Augusta. This line also reminds me of this scene in DWD which OW described as a 'primal roar' to Rolling Stone in 2022.

[taylorswiftstylequestions]

“I also personally LOVE the delusion of "Everyone we know understands why we're meant to be" because it's so integral to the entire point of the song” — THIS THIS THIS. Remember, that line comes after she admits that they’ve both told their friends separately that they’ll kill themselves if the other leaves, one of the biggest and most obvious red flags a relationship can have. As someone who’s had a friend say something similar to me in the past, I can guarantee that everyone most certainly did not understand why they’re meant to be — if Jack’s experience was anything like mine, that statement would have gotten an anxious laugh and an internal she doesn’t mean that seriously, right? The relationship described in little ttpd is neither healthy nor romantic. The narrator is trying desperately to convince herself it is, which is why she’s telling herself all their friends are on board with it when it’s not entirely clear if they are (notice that we don’t hear Lucy or Jack’s reactions to these very concerning statements — we have to take Taylor’s word that they understand why they’re meant to be*, and a recurring theme throughout especially the first half of this album is that Taylor isn’t always the most reliable narrator). For that reason I don’t really struggle with the “how could she write this about HIM??” feelings with little ttpd in the same way I do for songs like loml. Little ttpd is just a detailed accounting of what she’s summarizing in icfh(nric) — an unhealthy, rapidly failing relationship built on lovebombing and delusion. And I am totally fine assigning that to Mr. Smallest Man Who Ever Lived (said jokingly — obviously with the paternity test disclaimer and understanding that Taylor’s music is much more than the men who may have potentially inspired it)

*and yes I realize that all of Taylor’s work is technically based on us taking her word for things, and that even if she gave us the full conversation we would still be taking her word that it’s true, but I think even with that she’s still presenting herself as an unreliable narrator in this song and that the choice to leave out her friends’ reactions/responses was an intentional one

This was fantastically said friend and I so agree and I also think that this extra bit of Required Reading is perhaps why Poets might have such a higher barrier to entry for listeners and also why some of its earliest criticisms lose weight once you give the album its due and listen to it the way it was meant to be consumed - over a long period of time and with careful consideration to the context and the intent of the artist.

The album is too long and overly, unnecessarily wordy. Yes.

Some of the lyrics are super cringe and weird and awkward. Yes.

It's really gross that she's romanticizing being in love with someone who's not a good person. Y E S. YES?!?!?!??! YES!!!!!!

THAT'S THE POINT. THAT'S THE POINNNNNNNNNT! THAT'S THE POINT!!!!!!!!!!!!!!!!!!!!!!!!!!!!

And yes completely agree that while there's a precedent set that if you're listening to a Taylor Swift song you're getting her *biased* POV as in her version of events (which, tbh, her version of events usually goes reasonably unrefuted by people which I'm led to believe means it's typically close to right even if it's fuelled by her own biased personal emotions). But never elsewhere in her disco as we do on TTPD do we have to confront the fact that her biased POV is also a really fucked up one that she herself does not even necessarily believe but is doing her best to convince herself that it's true and good for her and right. And you have to be actively hearing and discerning and comprehending and analyzing what she is saying and how she is saying it in order to *get that*.

Poets inherently does not reward passive listening. And if you tuned out once you grasped who a song might* be about because you personally dislike them** you miss almost the entire point of what Taylor is trying to communicate.

[mastermindmp3]

Down Bad is... perhaps my favorite song on TTPD. The sparkling synths, the cosmic metaphor, the phrase "Down bad, crying at the gym, " which, me too. The implied rhyme in the bridge where she cuts off, "how dare you say that it's— (over)" Everything is so good. I've previously said that a lot of songs on TTPD are capsules of time, and Down Bad is no exception. This pocket of time is one after leaving a whirlwind romance, grieving a love that the speaker knows was fake in the first place, and yet still hurts.

Let's dive into it, shall we?

Down Bad explores the idea of a love bombing ( as defined by Oxford, "the action or practice of lavishing someone with attention or affection, especially in order to influence or manipulate them." ) through the lens of an alien abduction. Again, we see an extended metaphor to explore a core idea, a common theme on TTPD. A very key feature of love bombing is that it is most effective on those already longing for company. By the letter of the song, we don't know if the Speaker was experiencing that level of loneliness, but it certainly feels implied by her want for something so short.

The song is quite different in tone from the previous track: it lacks the denial that Favorite Toys does, lacks this feeling that the Speaker is ignoring something. She admits, frankly, that the love she perceives only wanted her "to do experiments on, show [her] the world is bigger than [them], then put [her] back where [she] came from."

( I think one could tie that lyric into Illicit Affair's "You showed me colors you know I can't see with anyone else." )

The Speaker in Down Bad is in mourning - quite fitting, for such a fatalistic album. She describes being left by her alien lover as "like [she] lost [her] twin." Twins have a very mythic quality in fiction, telepathic connections and mystical connotations. In the real world, there are plenty of anecdotal stories of identical twins having a connection unlike a simple sibling pair, including my favorite anecdote: A pair of twins who were separated at birth and yet ended up living lives that so closely mirrored the other's, it felt planned.

The speaker feels her loss is of that magnitude. That she has lost someone who knew everything she felt, who had that mystical remedy for her. Much like Fortnight, Down Bad's speaker is stuck. Not stuck in her suburbia, but stuck in her hometown, looking up at the sky, waiting to be picked up again, and writhing in it, silently. "They'll say I'm nuts if I talk about the existence of you."

It's no secret that those who claim alien abduction or to have seen UFOs ( now called UAPs by the American Military, for Unidentified Aerial Phenonemon, allowing the phrase to encompass more broadly things like auroras and odd clouds, ) are condemned by their peers. Down Bad's speaker fears this same condemnation, for feeling so strongly about what is, by implication, a flash in the pan romance.

Most alien abductees, for instance, only claim to have been taken for a night, or a week at most. The romance was short lived, but now she's "waking up in blood" from the aftershocks of the alien lover's experiments. Though she feels fervent desire for them, that line reveals that they didn't take the same care with her.

Perhaps they didn't know how. After all, the speaker's lover is portrayed as so different, they may as well be an intergalactic traveler. Or perhaps they didn't care; the song doesn't answer that for us. All we know is that the speaker wants them back, in spite of the damage they had done to her.

Note: I was in love. Not we were, not I am. I was, and you weren't. I was, and am no longer.

[spade-riddles]

Submission: Death/Dying/Mortality & The Jack-O-Lantern of it all.

The first 🎃 was sent on May 13, 2023.

#4. 🎃 “Speaking of, I love Halloween, don’t you? I’m already counting the days until October.”

#11. 🎃 “Imagine this. It is 3 am and Halloween is over"

All Saints Day, while exact origins are uncertain, was originally most commonly celebrated in May (like, a LONG time ago. ~300-600 A.D). Specifically…MAY 13. The night before All Saints Day was called “All-Hallows Eve”, which is what we now know as Halloween. (I acknowledge that is through the Christianity lens, as I know there this is a holiday with pagan roots as well). 

This is a celebration dedicated to remember the dead. I believe the use of the pumpkin/jack-o-lantern and the references to this celebration were easter eggs for the direction of TS11, before we even KNEW a new album was in the works. Furthermore, someone sent in a post identifying May 13 as the first documented date of JK & KK, which was also linked to the original spade riddles about MAY. 

Now that it has been a few days since the release of TTPD, I’m shocked to see just how many references there are to the concept of death, dying, endings, resurrection, etc. Here is an incomplete list of all of the references to this theme throughout the TTPD rollout and release:

TN easter egg

“We hereby conduct this post-mortem” - AKA….after death. This was ultimately revealed to be lyrics from “How Did It End?”

Track 4 - Down Bad

“I might just die, it would make no difference.”

Track 5 - So Long, London

“My white knuckle dying grip holding tight to your quiet resentment.”

“I died on the altar waiting for the proof.”

Track 9 - Guilty As Sin

“One slip I’m falling back into the hedge maze, but what a way to die.”

Track 10 - Who’s Afraid of Little Old Me?

“If you wanted me dead you should’ve just said. Nothing makes me feel more alive.”

Track 12 - loml

“Are they second hand embarrassed that I can’t get out of bed, cause something counterfeits dead?”

“And I’ll still see it until I die, You’re the loss of my life.”

Track 14 - The Smallest Man Who Ever Lived

“Were you sent by someone who wanted me dead?”

“I would’ve died for your sins, Instead, I just died inside.”

Track 16 - Clara Bow

“I’m not trying to exaggerate but I think I might die if it happened, die if it happened to me”

Track 17 - The Black Dog

“Old habits die screaming.”

“Now I wanna sell my house and set fire to all my clothes, and hire a priest to come and exorcise my demons, Even if I die screaming, And I hope you hear it.”

Track 19 - The Albatross:

“She’s the death you chose”

Track 21 - How Did It End:

“We hereby conduct this post-mortem”

“Say it once again with feeling, How the death rattle breathing, Silenced as the soul was leaving, The deflation of our dreaming, Leaving me bereft and reeling. My beloved ghost and me, Sitting in a tree,D-Y-I-N-G”

Track 23 - I Hate It Here

“I dreamed about it in the dark, the night I felt like I might die”

Track 25 - I Look In People’s Windows

“I had died the tiniest death.”

And finally…resurrection (note: I am not a religious person, I’m writing about this from a literature/contextual perspective).

Track 9 - Guilty as Sin:

What if I roll the stone away? They’re gonna crucify me anyway. What if the way you hold me is actually what’s holy? If long suffering propriety is what they want from me, they don’t know how you’ve haunted me so stunningly. I choose you and me, religiously

propriety (noun) - 1: the quality or state of being proper or suitable, 2: conformity to what is socially acceptable in conduct or speech, fear or offending against conventional rules of behavior especially between the sexes.

🫚 - 2/5/2024

Frost untouched, Conformity wins fights.

This 🫚 message seems to convey the message that conforming to what what society and the media, her fans, etc expect of her and will tolerate from her, is the only way she could gain enough traction to move forward. But in Guilty as Sin, she finally asks the questions “what happens if I roll away the stone?” Rolling away the stone, in a biblical sense, would reveal an empty tomb. An empty tomb was EVIDENCE that Jesus had risen from the dead.

So my thought is, what does rolling away the stone mean for Taylor? What are the implications of her asking, “What if I just give them all the evidence revealing my truth? They are going to judge me no matter what, so I might as well. If they want me to suffer my entire life by conforming to societal standards, they don’t know how impossible of an ask that is.”In Summary, 🫚 & 🎃 have absolutely proven themselves credible in foreshadowing the themes of this album and overarching story. And I’m sure as we continue to decipher their messages, we are going to find so much more.

[antitheticalmidnights]

Swiftly Speaking: A Deep Dive Into Taylor’s Lyrics - "Fortnight"

Hello, and welcome to another review in the Swiftly Speaking series! Today, as promised, I'm going to dive into the deep lyrics of "Fortnight". Before I start, I'd like to point out that my intention is to analyze all the lyrics from TTPD. However, I also had want to take a few steps back and simultaneously explore the lyrics of folklore and evermore, the sister albums. Although it was released a few years ago and is already a finished project, I've been very immersed in the universe of folklore and evermore lately. I feel there is so much to be explored. But that's a conversation for another time.

Without further ado, let's get to it!

"Fortnight" (feat. Post Malone)

Oxford Languages Dictionary definition of fatalism fa·tal·ism noun: fatalism the belief that all events are predetermined and therefore inevitable.

"Fortnight is a song that I think really exhibits a lot of the common themes that run throughout this album. One of which being – fatalism. Longing, pining away, lost dreams. You know, I think that it’s a very fatalistic album in that there are lots of very dramatic lines about life or death and “I love you, it’s ruining my life” like these are very hyperbolic, dramatic things to say. But, it’s that kind of album. It’s about a – you know – dramatic, artistic, tragic kind of take on love and loss. And “Fortnight,” I’ve always imagined that it took place in this like, American town where, the American Dream you thought would happen [to you] didn’t. Like – you ended up not with the person that you loved, and now you have to just live with that every day. Wondering what would’ve been, maybe seeing them out… and that’s a pretty tragic concept, really. So I was just writing from that perspective."

— Taylor Swift via iHeartRadio album premiere

I want to remind you of the reference we made in "Hits Different", where Taylor sings: "I heard your key turn in the door down the hallway. Is that your key in the door? Is it okay? Is it you? Or have they come to take me away?". I find it interesting how she chose to open "Fortnight" with a similar narrative and atmosphere to Hits Different. Of course, if we take the idea of drunkenness and all that theatrical imagery of HD literally, it wouldn't fit in with "Fortnight", because even though the song starts with:

"I was supposed to be sent away But they forgot to come and get me I was a functioning alcoholic till nobody Noticed my new aesthetic"

Here we're talking about a different, more recent time, when Taylor had already left London and was back in the US. She is revisiting what has already happened.

It seems that Taylor plays with the idea that her move to London was something she chose to do in a situation of exteme necessity, not because she really wanted to go by her own desire. We know that she went there to get away from the hostile and inquisitorial atmosphere in which she was living around 2017 - and, of course, to live with her loved one. The opportunity came along at just the right time.

She says she feels forgotten, as if she'd been sent away but no one remembered to bring her back. This is a bit controversial, given her success with Lover, folklore and evermore, and later Midnights. We can look at this from an artistic and personal perspective. "Do people still miss me? Here, doing things in America, touring and stuff?"

The life and routine that we were previously unaware of and which, until then, seemed to be going well, is soon shattered when she reveals that she has become an alcoholic.

In matter of fact, the term "functioning alcoholic" is recognized by the medical community as a real problem. According to the Cambridge Dictionary, its literal meaning is someone who can behave, work, and live in a way that seems normal despite being addicted to (= unable to stop using too much of) alcohol, drugs, etc. In this sense, Taylor may indeed be talking about alcohol itself, but also something metaphorically like a narcotic to ease the daily pain. It could be a person, perhaps? I think it's delicate to approach this topic and infer something about Taylor's personal life. But she chose to put it in the first part of the album, so something she wants to tell us. And imo, she wants to tell that her body is working, doing things; she is writing, creating, but her head is elsewhere - in lunar valleys and secret gardens in her mind.

I think it's great that the song starts like this. It's an introduction to what she wants to show us. As if to say: "Hey, it seems like I've been out of the American spotlight for a while, but here I am, vulnerable, extremely resentful and sad, but with a new me ready to share what these last two years have been about."

"All of this to say: I hope you're okay But you're the reason And no one here's to blame But what about your quiet treason?”

All this that she presents, we realize, is not just for us, but for a specific interlocutor too. Once again, she points the finger and says that this person is the reason. And no one was there to see or follow what really happened. It was a quiet, silence treason. But what happened is big, but SO big, that you don't need an audience to judge. This mistake is big enough for the person to feel guilty alone.

“And for a fortnight, there we were, forever Run into you sometimes, ask about the weather Now, you're in my backyard, turned into good neighbors Your wife waters flowers, I wanna kill her”

I particularly find this chorus one of the most emblematic of Taylor's career, although it's not that difficult to break it down.

First of all, we should consider that fortnight is a term used more commonly in the UK than in the US. So, we know that there is still reference to that country that she left. Fortnight literally means 14 days. That's a relatively short time if you think about it. So we can think that she is definitely talking about a love affair.

As a Taylor fan, I know that she watches a lot of movies and series and draws a lot of inspiration from culture in general when writing her songs. The context and story told in "Fortnight" drew my attention particularly to a specific series called "Love And Death", starring Elizabeth Olsen (who is known to be a big Taylor fan).

"Love and Death" is a crime drama series that delves into the shocking true story of Candy Montgomery, a Texas housewife who became the prime suspect in the brutal 1980 murder of her friend, Betty Gore.

(Note: Taylor actually mentioned that she imagines this story taking place in an American town.)

The series explores the seemingly idyllic suburban lives of Candy and Betty, who are active members of the same church community. However, beneath the surface, tensions brew as Candy embarks on a secret affair with Betty's husband, Allan Gore. The affair begins innocently enough, with Candy and Allan feeling unfulfilled in their respective marriages. They agree to keep their relationship purely physical, carefully planning their secret rendezvous. But as time passes, the emotional complexities of the affair begin to unravel their lives. Candy becomes increasingly obsessed with Allan, while Allan struggles with guilt and the growing strain on his marriage to Betty. The affair eventually comes to light, and on the morning of June 13, 1980, Betty confronts Candy about the affair in her home, leading to a violent death. Candy kills Betty.

Taylor later revealed what inspired "Fortnight" saying "I think that it's a very fatalistic album in that there are lots of very dramatic lines about LIFE OR DEATH." Boom! Almost the name of the series that has a story extremely similar to the theme explored in the song.

Putting that possible reference aside, we can now really see that the lyrical self puts herself in the position of a traitor. She sees her neighbor - someone close to her, but not so close as to be intimate - in a different way. She envies the wife of the character in the story, and also shows a desire to kill her. In fact, there is a "stable" relationship in which the character finds herself; she wants this distant person, but she can't because there is a lack of morality involved in the betrayal.

“All my mornings are Mondays Stuck in an endless February I took the miracle move-on drug The effects were temporary”

Here we can identify an almost immediate link with "Paper Rings": "I want your dreary Mondays". She wasn't just showing that she accepted him as he was, that she would embrace the whole package. She WANTED him, even in the bluest days. But now, it's all consumed her so much that her mornings are stuck on those Mondays. As if every day were dreary.

"Endless february" may have been a reference to the movie "Groundhod Dog", starring the brilliant Bill Murray. The plot is basically that the character is an arrogant weatherman for a television channel, who gets trapped in a kind of time tunnel, condemned to relive the same day indefinitely until he changes his attitudes. That day would be February 2nd. So every day repeats itself over and over again, in an endless february.

Moreover, we can also consider that February is a month often seen as rather depressing for Americans, despite the Valentine's Day holiday (and also, the 21st is J's birthday). The weather is still cold, and the lingering sense of the holiday season remains —January used to be enchanting, after all, Christmas lights were still up, as that was their place, and they made the rules. And although it's the shortest month of the year, it can feel like the longest for those nursing a broken heart.

The idea of the narcotic that anesthetizes the lyrical self's pain is brought up again here. And we can think that the miracle drug is this other person she fantasizes about. She took this drug to ease the pain of her current relationship. The effects, however, were temporary.

And I love you, it's ruining my life (I love you, it's ruining my life) I touched you for only a fortnight (I touched you), but I touched you

And then comes the hyperbolic and dramatic line that Taylor herself emphasized in her interview. She intentionally wanted to make it dramatic, based on the premise that the album is fatalistic. It's about long pining away, tragic artistic drama. Hence, the striking antithesis.

What’s most interesting is the exchange of verses with Post Malone, where he guides as the second person. She states that she touched him, he also claims that he touched her, and she reinforces with a "BUT" that she did, indeed, touch him. It's as if the action originated from her from the very beginning.

“And for a fortnight, there we were, forever Run into you sometimes, ask about the weather Now, you're in my backyard, turned into good neighbors Your wife waters flowers, I wanna hill her And for a fortnight, there we were together Run into you sometimes, comment on my sweater Now, you're at the mailbox, turned into good neighbors My husband is cheating, I wanna kill him”

Here she repeats the first chorus and adds the second, cleverly changing a few words. Notice that "forever" has been changed to "together". There is no more forever between this couple. Before, the neighbor was in his "backyard", now he's closer to her "mailbox".

And finally, she ends with the fatalistic line that she's a traitor for only thinking about it, but the partner she's with it's not just thinking, he's really cheating on her and she wants to kill him too.

If there is a moral, it is that no one is literally right. These two love elements have their contradictions, their fantasies, their own thoughts, and an obvious indication that things are not going well.

“Thought of calling ya, but you won't pick up ‘Nother fortnight lost in America Move to Florida, buy the car you want But it won't start up till you touch, touch, touch me Thought of calling ya, but you won't pick up ‘Nother fortnight lost in America Move to Florida, buy the car you want But it won't start up till I touch, touch, touch you”

Then comes the ending. I want to emphasize here that America in the concept of the whole album seems to be a place of relief, of refuge, of freedom. And Florida, especially this state, Taylor mentions is a place where fugitives seek refuge, a land where no one knows anyone, a place of new beginnings. Cars, on this way, are used by Taylor as objects of escape too. "Getaway Car" is a great example, literally recounting the escape from a relationship. Not just in this song, but in passages like "I was riding in the car when we both fell" x "It's 2 AM in your car, windows down, you pass my street, the memories start" x "Remember when I pulled up and said, "Get in the car""

Buying the car you want is a metaphor for a person. Like, "find the love of your life and go, go to a place where there is freedom, where you can love each other."

However, this won't happen until it's off the page and into the real world. In the end, we realize that all this is going on in the lyrical self's head. The whole story that she touched him first, that she set the ball rolling, is a plot that she imagines as well as in "Guilty As Sin?", maybe.

The song is perfect to open the album, as it touches on all the themes she will eventually deal with throughout TTPD. Suffering, forbidden dreams, fantasy, separation, the pain of lost love, love and death.

Although this is a review specifically of the song itself. I'd like to point out that it's the only TTPD single to have a music video. The cinematography is absurdly beautiful and impeccable. Taylor chose to use elements that could reproduce a mental health treatment facility, as well as a department of tortured poets. It features Post Malone, and I think Taylor really wanted to summed up the concept of the era precisely as we see on behind the scenes how perfectionist she is about the acting and the whole concept. The asylum in this MV talks to Fortnight, bringing this somewhat schizophrenic illusion of an invention of reality. There are old-fashioned shock treatments being used on her, as if she were being considered a patient. The environment in which she and Post play is dark, stuffy and damp. Is this a possible reference to London?

------------------------------------------------------

I hope you enjoyed this analysis. It was extremely long, but I think I managed to capture the whole idea that this rich song brings to us.

See you next time!

- L.

[wouldvecouldveshouldve]

i think clara bow and the manuscript are both strong closers for the original vs the anthology albums, but they send two different messages that really change the way we see the album. clara bow seems to tell us about how she's come to terms with fame, kind of like "the lucky one" and "nothing new." on the other hand, the manuscript is about how she's come to terms with her personal life and (hopefully) closing those chapters. with the manuscript, part of the impact is reliant on if she truly closes these chapters.

the first half of the album may very well be a metaphor for her struggles with fame - waolom is a pretty crucial song that ties it all together, this idea that she's been 'caged' by her celebrity/image and this idea people have of her, hence the various vague entities she refers to over and over that she thinks only want "grey" and "long suffering propriety" from her. the girl at the end of clara bow has 'edge' which taylor, the so-called good girl, never did. and because people never saw taylor as anyone with edge to her, they looked at some of the things that happened with her and said "oh she's gone crazy". its this vision of a crazed "poet", who's been caged and hurt by the people around her. it's a whole theme that encapsulates the first half, the original version, of the album.

meanwhile, the second half of the album, the anthology, was the following ups of all of that anger, the quieter, more vulnerable moments in which she was feeling while all of the "craziness" happened. hence the calmer, more folksy sound and quieter, (somewhat) less dramatic songs. of course, this doesn't apply to all of the songs on the anthology, but they're the unheard thoughts and feelings she harbored during the pain and mishaps of 2022-2023. which is why, with the manuscript, it's more vulnerable - it's evaluating the pain she's been through, the hurt, and making sense of her feelings throughout the years. throughout the fame, the harm, the encounters.

i think the manuscript is a better closer for an album as vulnerable as this one, and although clara bow was strong and punctuating and introspective of the way that fame is handed down, it was a glimpse into the pain that we see unfold during the entirety of ttpd - and the beginning look into the anthology, where we see what was hidden behind the original album's persona, and where all of the vulnerable thoughts and feelings which weren't all upbeat and happy songs actually were kept.

[wavesoutbeingtossed]

To continue riffing on the marriage/tradition stuff because that’s one of the themes I’m obsessed with in her discography, it’s fascinating because it would be easy to reduce it to, “she’s adhering to patriarchal societal norms in chasing the traditional nuclear family and that’s why she throws herself into these relationships,” but it’s just so reductive to well, how human beings exist in the world. Just because it’s a societal pressure doesn’t mean some people don’t genuinely want to get married or have families.

Yes, she’s been singing about it right back to her first album when she as 16. Yes, her view on it has evolved, from marrying the sweet neighbor boy to the princess fairytale early on (debut/fearless), to the disillusionment that increasingly pushed it out of the narrative (speak now/red/1989), to slowly letting herself believe in forever again (rep), to seemingly actually committed (lover), to questioning what that means (folklore/evermore) to trying to reconcile what it means for her current life (midnights). Every relationship she experienced throughout those periods informed those views and how *she* pursued it.

I think what makes it so interesting on TTPD is that it is EVERYWHERE, as I mentioned in my previous post about it. And it’s unsettling because it’s not just in the setting we expect it to be — e.g. a long term partner she’d previously indicated she was ready to marry — but also in songs about a man who swooped in to save her when she was low only to break her apart, in thinly-veiled fantasies about strange bedfellow neighbours, another thinly-veiled story about marrying the person you want consequences be damned, in taunting your on again/off again partner in a bar (e.g. i want to smash your bike or be your wife).

And it’d be easy to chalk it up to, well she’s in her 30s and the clock is ticking, she’s just obsessive! And there’s a nugget there about women and their bodies and both the lauding and weaponization thereof and everything that personally I’m dying to talk about at some point. But when it comes down to it, I’m willing to bet that the reason why it’s everywhere is because THAT WAS HER LIFE. That was the plan she’d taken for granted for so long — and I don’t just mean in a general sense as a girl in the world — but in the very real, very tangible way she was living her life and in the circumstances that led to what would be written about in TTPD. By working out all these scenarios through her songs (and tbh in whatever she was doing IRL that inspired them), she was grappling with and grieving the loss of the life she thought was ahead of her. We’ve talked about how pervasive grief has been on her recent albums, in all kinds of forms, and I think this is kind of the culmination of all of those worries.

She’s not the girl with the paper ring and all’s well did not end well to end up with him. She’s not the girl who has his midnights after cleaning up bottles on New Year’s Day. She couldn’t give him her wild or a child because it wasn’t enough. She may have even been the self-fulfilling prophecy of the girl who is fucked in the head, but feels more like the one left out on the landing.

So in TTPD, she is all of these things. She’s the neglected wife whose husband cheats on her so she runs off with an old flame. She’s the one who gets the jewel on her ring finger and talks about babies because he says it’s love. She’s the woman whose partner once made a promise but never followed through. She’s the hell-raiser who follows love in a different kind of getaway car while the town calls her mad, consequences be damned, but joke’s on them because she gets the wedding in the end anyway. She’s the wife who feeds her cheating husband to the swamps of Florida. She gets swept off her feet by an old flame to run down the aisle. SHE’S the one who gets to decide if she’s gonna marry him or decimate him (be his wife or smash his bike). She’s the girl who didn’t become the wife while she watches the one that got away marry his. She’s the woman scorned who has to call the whole thing off. She’s the saucy girl who bets her new lover is gonna marry her for real. She’s sold off as chattel to the highest bidder in an arranged marriage. She’s the young girl starry-eyed with the dreams she grew up with only to have them go up in flames, leaving only her pen behind to turn it into art.

She navigates all these scenarios because in the end, she isn’t any of them and she is all of them. She’s mourning what she gave up, mourning what she’s already lost, mourning the time she feels she wasted and could have started over. She’s mourning any number of women she could have been if she’d just tried something else, but also mourning that ultimately much of this was out of her hands. She’s grappling with a past that can’t change and a future that doesn’t exist. Every one of these scenarios is a way her life could have gone with any number of different decisions, but in the end, none of that matters, because she is who she is and what happened happened.

Obviously there’s a lot more going on in the album; she’s not just processing the end of relationships, she’s processing her fame and career and health and harassment and trauma and struggles and misogyny and any number of things in frankly shocking ways. But, I think there’s also no denying that this very important thing — the step many young adults expect to take in their lives — precipitated a whole lot of what went on, and may have even had a domino effect on all the other issues explored. It’s raw and vulnerable and ugly and funny and human.

Anyway apparently I’m back and thinking.

[blueindigo17]

hi writeblr!! it's nice to meet you!!

I’ve had this blog for years but never posted anything bc to be honest I was a little afraid of tumblr when I first joined, but recently I decided that since I like talking about my wips so much to my friends/family irl, why not blog about them? I also want to find some writing mutuals, since I like hearing about people’s stories just as much as I like telling them about mine. Feel free to interact, follow, message, etc. I love making friends :D

About me <3

I go by Blue or BlueIndigo online, so feel free to use either of those :)

My pronouns are she/her

I’m 19, which also happens to be my favorite number :)

I have five (sort of six?) wips and over a hundred characters. I may have a problem.

I am a BIG swiftie (favorite albums are 1989 TV and TTPD), and I listen to a lot of 5SOS, Olivia Rodrigo, Gracie Abrams, Conan Gray, and The Scarlet Opera. Also the occasional Chappell Roan.

I love reading!! My favorite books are Carrie Soto Is Back by Taylor Jenkins Reid (my fav author) and She Drives Me Crazy by Kelly Quindlen.

I've played ukulele for a few years, and I recently started learning guitar. there's a greater than zero chance I might post any music things in the future. ig we'll see.

I have a thing where my wip titles have to make good acronyms or I don’t use them. idk why either.

I love talking about my wips (and also everything else) to the point of annoyance. (#blueindigo says things for non-wip related stuff <3)

tag games are an ABSOLUTE YES my personal brand of yapping is answering questions lol

I like to write…

Realistic/contemporary fiction

Young adult/new adult

LGBTQ+ characters

Coming of age

Romance

Friend groups/found family

otherwise just people being people :)

More about my wips below !!

My WIPs

Never Have We Ever (NHWE)

Tags: #wip: never have we ever #wip: NHWE

Summary: Liz has the best friends a girl could ask for. Harley, Mikey, and Natasha have been her people since elementary school, and Trevor and Amanda since middle school. Their whole lives, things have been pretty much the same. Same kids in their classes every year. Same streets between the same houses. Same, same, same. At the end of her freshman year of high school, just about when Liz is wondering how much same she could possibly handle, she catches Trevor’s eye as he laughs at someone’s joke, and something deep inside her lights up. Something she doesn’t know what to do with. Something she can't push back down once it comes barreling up to the surface. So much for same. After that, things can’t stop changing. And not just in her own life—her friend group starts pulling apart at the seams. Harley begins withdrawing from everyone with no explanation. Mikey gets in bigger trouble with his dad than ever. Natasha only has a year before she has to move off to college. Amanda is stuck between the person she is and the person the world wants her to be. Trevor seems to have gotten off easy, but Liz can’t be around him for more than a minute without falling head over heels all over again. In this collection of short stories, Liz has to wonder if the change of pace she thought she wanted is worth it. Sometimes it’s hard to be brave, and she’s never been the most open to change, but unfortunately, that does not stop it from happening. The only question is: what is she going to do about it?

Genres: short stories, realistic fiction, young adult, coming of age, contemporary Themes: found family, first crushes, dealing with change, growing up, maintaining friendships Characters: Liz Stanton 🩵, Harley Wilson 💚, Mikey Miller 💛, Natasha Knightley 💜, Trevor Marshall ❤️, Amanda Hamilton 🩷

NHWE is my oldest WIP, started on December 16, 2019. It’s been on ice lately, since the plot has gone through so many changes that I haven’t known what to do with it in a while, but one of my goals with posting about it is to warm myself back up to it. I think writing that summary was a good place to start. Wish me luck :D

The Together List (TTL)

Tags: #wip: the together list #wip: TTL

Summary: Audrey is in her first month of college. Within three weeks, she’s moved out of her childhood bedroom and into a room with a window that seems to open on its own and a door that creaks loud enough to wake up the whole floor, she’s stumbled into a friend group that seemed to pull itself together like drawstrings, and she’s gotten a job at an adorable independent milkshake shop with her roommate and one of her new friends. What more could she possibly ask for? The world, it seems. Audrey has a list ten miles long of all the little things she wants college to be. One night, she starts listing them out loud. Her friends—Logan, Lennon, McKinley, Aspen, and Levi—chime in with their own after a moment, and before anyone knows it it’s been three hours and they haven’t stopped. They aren’t even sure whose idea it is, but they start writing it down. Every box on this ridiculously decorated list will be checked off by the end of the year, they swear. Someone makes an Instagram account as a joke, but by the first post it’s become as serious an endeavor as they’ve ever had. They wouldn’t call themselves local celebrities, but they certainly wouldn’t correct you if you did. The thing about fame at this age, even at small amounts, is that it's bound to go to someone's head...

Genres: realistic fiction, young adult fiction, new adult fiction, coming of age, LGBTQ+ fiction Themes: LGBTQ+, friendships, fame, college, becoming an adult, relationships Characters: Audrey Marshall 💙, Logan Levine 🧡, Lennon Adler 💛, McKinley March 💜, Aspen Brady ❤️, Levi Jackson 💚

TTL was created on August 18, 2021. I saw a post on Pinterest of someone's summer bucket list and that sounded like such a fun thing to do with friends that I had to write about it. Two and a half-ish years later, TTL has also gone through many changes, so I'm sort of trying to refresh it now. I'm very excited to see where it takes me!

(Fun fact: the main character, Audrey, is the older sister of Trevor from NHWE!)

The Violet Sisters Club (TVSC)

Tags: #wip: the violet sisters club #wip: TVSC

Summary: The Violet Sisters Club, a world famous all-female pop rock band, is facing a very public lawsuit from a former hotheaded manager over their most recent album. Following the conclusion of their case, lead singer Naomi Tyler, drummer Inez Wilde, guitarist Chrissy Cameron, and bassist Francesca Sheridan escape to the luxurious Overlook Estate, a privately owned rental property on an island off the southern coast of California. Here, they can spend the summer out of the public eye, writing songs they don’t need to worry about releasing and letting the public wonder what they’re up to as they let the tension out of their muscles. With a property four times the size of Alcatraz Island and a beach over a mile long, the Overlook offers the band a respite from the go, go, go of touring, the privacy invasion of paparazzi, and the exhaustion of being micromanaged every minute of every day. Four pools, seven hot tubs, the aforementioned private beach, a high tech recording studio (just in case), a few golf carts just to get around the property and a Jeep to get to town. It’s unimaginably expensive, it’s incomprehensibly big, and it’s everything they need. But this escape may not be the relaxing California beach paradise they imagined. Soon, it becomes hard to hide how much the stress of fame was eating away at each of them—emotions run high, patiences run thin, days run long, nights run longer, and the strength of the band is questioned as the girls’ insecurities and anxieties bubble to the surface after a lifetime in the spotlight.

Genres: realistic fiction, contemporary fiction, literary fiction Themes: fame, music, romance, found family, secrets, breakups Characters: Naomi Tyler (lead singer, songwriter) 💜, Inez Wilde (drummer, vocalist, songwriter) 🩷, Chrissy Cameron (guitarist, vocalist, songwriter) 💙, Francesca Sheridan (bassist, vocalist, songwriter) 💚

TVSC was created on February 5, 2023, but the characters have been around almost as long as TTL. Initially, I created the Violet Sisters Club as a fictional band that would exist within The Together List, but at some point I couldn't get the idea of a TVSC-focused novel out of my head. I'm glad I never did, because some of my favorite ideas I've ever had have gone into TVSC. If I could have one wish, it would be for all of TVSC's songs to be real so I could listen to them without having to write them first.

Now That We Don’t Talk (NTWDT)

Tags: #wip: now that we don’t talk #wip: NTWDT

Summary: There are two important things to know about Hazel Henry and Saiah Bradford.  One: They kinda-sorta hate each other after they broke up last year at prom. (The same prom that ended with the school almost burning down and Hazel's twin brother's best friend going to the hospital. Bad memories all around.) Two: Someone on the planning committee for their senior class trip must be out to get them, because when they arrive at the hotel, they find out they’ve been assigned to the same room. This should have been impossible; Saiah requested to be paired with her best friend, Tory, who's going to have some explaining to do later, and Hazel would bet her life on the fact that she requested a room alone. Now, for the next two weeks, they’re both stuck in the same narrow room with its little square bathroom and practically-nonexistent privacy. The air conditioner turns on at random times, they seem to be paired together for every single scheduled activity, and perhaps worst of all—their friends all seem to find this situation absolutely hilarious.  But it’s just two weeks, right? It’ll be over before they know it, and soon they can both go back to pretending their relationship—and each other—never existed. Right? Right? Happy senior year to them. 

Genres: realistic fiction, young adult fiction, contemporary fiction, LGBTQ+ fiction, romance Themes: reconciliation, romance, friendship, forgiveness, guilt, regrets, family, growing up Characters: Hazel Henry 🩷, Nick Henry 💙, Saiah Bradford 💚, Tory Whitehouse 💛

NTWDT was created on October 18, 2023. Hilariously, I came up with the plot after making Hazel and Saiah in the Sims, and I literally couldn't stop thinking about them whenever I wasn't playing. As I do with every character I create, I became obsessed with them, and now here we are. And in case you're wondering, yes, I named it after the Taylor Swift song lol.

Trouble In Paradise (TIP)

Tags: #wip: trouble in paradise #wip: TIP

Summary: Sixteen years ago, Joe Alexander and Ben King drove across the US in the pursuit of Joe's true love. Today, Joe is preparing to move out of his and his ex-wife's house and drive across the country once more, joined by his daughter, Bryce, and his best friend/his daughter's biological father, Ben. It's all familiar—the long stretches of empty fields, collapsing onto a cheap hotel bed for the night, never being able to decide where to stop for food—and yet, Joe has no idea what he's in for.  This is a story of two cross-country road trips, and the lives that one woman is able to ruin in between. Joe Alexander and Ben King have both lost their entire worlds to Lilly Alexander. But the ones they’ve gained after her might be—in some weird, unconventional way—a little better.

Genres: realistic fiction, contemporary fiction, adult fiction, literary fiction Themes: reconciliation, moving on, guilt, parenting, cheating, manipulation, mental illness, past sexual assault Characters: Joe Alexander, Ben King, Bryce Alexander, Lilly Alexander

TIP is technically my newest WIP, since I came up with the full plot earlier this year (February 13, 2024). I've had the vague idea of it for just over a year, but I didn't quite know what to do with it until recently. It's definitely more mature with its topics than my other wips, as you might be able to tell by the themes, but I really like the concept and I've had a lot of fun plotting it so far, even if it's a little out of my comfort zone.

(Fun fact: the original title way back when the characters didn't even have last names was High Infidelity, after the Taylor Swift song, since I thought it was so thematically appropriate.)

···

OKAY I'm pretty sure I have officially run out of things to say. If you made it all the way here, thank you so much for reading! Like I said earlier, feel free to interact any way you like :D

This post is sort of a masterpost for all my wips, but I'm also doing posts for each wip separately so I can go into more detail. Those are/will be linked in the title for each wip.

Thanks again for reading, and have a good day/night !!

―BlueIndigo <3

[jonismitchell]

i think that the reason ttpd is split into the main album/anthology is because the main album is telling a fairly linear narrative of having a long-term lover who becomes bad for you, losing them, and rebounding with the worst guy ever, and then the anthology is an exploration of some of the same themes, but also how that kind of mindset comes to be.

(and i do interpret the long-term lover on ttpd as a queer relationship that the narrator bolts from to pursue a last-ditch attempt at heterosexuality, fwiw.)

anyway the reason that context is relevant to this post is because the song that opens the anthology is the black dog, which is an all-timer and also a song i interpret as queer.

"old habits die screaming" is a repeated lyric that reflects the narrator's patterns of suppressing her queerness, as well as the literal death of the relationship. further, the narrator refers to wanting to "call a priest to exorcise [her] demons, even if [she] dies screaming" which 1) tells you that she is, in some sense, the old habit, and 2) that losing not just her lover, but the promise of the authentic life her lover represents to her, feels like it will literally kill her. (that's the so-called loss of her life.)

i also think that "my longings stay unspoken / and i may never open up the way i did for you" can suggest her attempt to closet after leaving her lover, never giving herself over to the men she's going to pretend she'll be happy with.

[thequietesthing]

since everyone is giving their two cents about the new taylor swift album, i’ll also do the same (it’s more like ten cents cause it’s very long sorry)

first of all, this album (i’m talking about ttpd: the anthology with all 31 songs) can be truly appreciated once you hear it at least twice with the lyrics right in front of you. the reason for this, imo, is pretty simple; the first thought i had while listening to this the first time (and be mindful of the fact that my mind was huddled with sleep bc it was very early) is that it sounds like a diary, more than any other of her previous albums. which is why, i think, that the people that don’t particularly like it may never have kept a personal diary in their life. and i’m not talking about gratitude journals, i’m talking about “teenage petulance” written words, with anger, resentment, hope, love and sadness. which would very well explain the lack of “storyline” that i’ve seen people complain about, in the sense that she doesn’t create stories within her songs but only verbose imaginaries. when you write in your diary you use metaphors, analogies and periphrasis but since it’s something raw and yours you don’t need to craft a story about it because the diary it’s something you write for yourself, so you don’t need to make the effort of making something “pretty” as it’s not supposed to be read by anyone else. it often feels like an unending river flow of messy words because that it’s how writing your own feelings looks like. also the fact that she often reports pieces of dialogue she imagines hearing or that someone actually said it’s a very typical trait of diary entries.

second of all, the games of assigning which song to who can be fun for like the first two hours but then it gets very freaking boring. if you don’t understand that everything that she writes she writes about how she feels and about how other people make her feel you have not been paying attention. she is the main character; if the issue for you is whether that song is written for that person instead of another, you are giving more importance to secondary/recurring roles than to her. these are her words, her story. and i’m not saying it’s not fun ok, catching references to ex-boyfriends or other people, but you can’t, and you shouldn’t, make an entire album that she wrote about her personal intimate experiences about someone else.

to circle back to the lyrics, i think that this album may be one of her best works. they are smart on both a linguistic and metaphorical level. as someone who deeply enjoys english as a language i always have the time of my life listening to her albums and her choice of association of words, themes and rhymes.

a last point regarding the tunes. i am by far the last person that knows anything about music, you give me a pretty tune and i usually like it regardless of where is from (cue my very eclectic music tastes) so when everyone said that all the music sounded alike i was like uhmm. when i heard it a second time (guys the key it’s really in this!!!) i was like no they are different from one another. but also, and this may be a little far fetched so feel free to disagree but it’s what i perceived, is that in this album she may have put much more effort in the lyrics than in the music. not always obvs she is a musician after all, but i think that the turning point here, the thing that she wants us to pay attention to, are the lyrics (also why it’s called tortured poets department and not tortured musicians department :))

to sum everything up, i really really enjoyed this album when i listened to it the first time but i’m appreciating her skills and understanding her lyrics more the second time around. it’s an album that has to be let marinate, like a sauce, otherwise is gonna taste a bit acidic. anywho this is just my opinion, i just needed to tell it to someone and the irl people in my life are not willing to listen, so people of tumblr you are the unfortunate recipients of my two cents on ttpd :)

[allamericansbitch]

i want to preface this by saying that i became a fan of taylor after lover (which is ironic because it's one of my bottom 2 albums by her) but honestly i don't really care for taylor anymore, i saw her in july last year and enjoyed the concert and everything but again that was mainly because of the experience of it being my first big stadium show and the vibes of everyone dancing and singing along. and i'm really glad that i did have that experience. but i literally listened to ttpd once and i can't stand midnights for the most part, and my dislike for the music coupled with the way she's acted in the past year has really turned me off of her.

that being said, i think it's fascinating how taylor coopts whatever is big in the moment as part of her aesthetic for that album. like for lover era she was huge on politics and activism and lgbtq/women's rights because that kind of advocacy was really mainstream and popular at the time. and now it's been like four years since then and she doesn't really outwardly express any political sentiment one way or another. for folklore and evermore she really leaned into the quiet/homey/cottagecore aesthetic that was so popular during quarantine. and for midnights and the poets album she is really leaning into that whole depression/mental illness vibe that's really popular on social media right now, especially with the i'm just a girl rhetoric that's huge on tiktok. i can't really articulate that link super well but i feel like it's definitely there lol

all that to say, taylor's choice in aesthetics are so varied and that's fine in some cases i guess , but in some cases switching up like that out of nowhere is outright harmful - like her not caring about politics anymore, or romanticizing the "mental illness aesthetic" like she's doing right now. i don't know what i'm trying to get at here, but i feel like she wants to make sure she's as "in" as possible without considering how with such a large platform she is actively offending hundreds of thousands if not millions of people. and sure maybe she's disconnected from reality because of her fame so she can't really understand the impact of her actions (personally i don't think this, just a counterargument) but what i really don't understand is why someone on her team or a friend doesn't just say this to her. does no one care?

i totally agree and while reading this i may have thought of a possible reason she does this. i feel like this trend you're talking about really kicked into high gear with lover and making the entire theme of the album involve something very hot in the culture at the time, and what also kicked off at the time was Taylor being worried about her aging out of the industry and not being allowed to be successful anymore, like her talking about lover being her last chance for a hit album. so i think she, consciously or not, wanted to make sure she was keeping up with trends and being young.

and like you said this extends to now where it's very obvious she's not learning what the actual mental health terms mean and is more using them in a trendy way, she's not giving them any weight or making it known that she's serious, because serious mental health conversations aren't trendy, using them for dramatic purposes is. calling yourself 'delusional', 'manic' or having intrusive thoughts for comedic, dramatized purposes is what everyone is doing and now she's including herself in this trend of casual ableism and has also now crossed a line into blatantly using it for aesthetic purposes.

again whether this is a conscious choice or not, she's really just coming across as so un-self-aware and has no feet on the ground whatsoever, to the point where she'll just go with what's trendy to fit in with the young generation and make them like her and it's gotten to the point of no return it feels like

[tayfabe75]

It is clear that most of the songs were written before May 2023, but I am sure that after too. The Smallest Man Who Ever Lived was obviously written after, so what's your take on it? This is the angriest she's ever been. Where does this lead us?

Anon, I'll preface this by admitting that I don't think any songs on TTPD are reflective of the past year (though, they have been cleverly disguised to appear as though they're about current events) - I personally believe they are songs about things from Taylor and Matty's past that she dared not share until now for a couple reasons: 1) They wanted to keep their relationship secret 2) She wouldn't dare "out" Matty for his drug use (it was not yet hers to share)

Meaning, I don't believe Taylor would make such direct references to drug use without Matty's blessing.

Now, I get that almost the entire internet would disagree with me on this, I'm well aware that fans are out there right now giving their "diagnoses" about how "unhinged" and "manic" Taylor is on this album…

I vehemently disagree.

I've been studying the woman the past year and I'm continually impressed by her character. Sure, she's aware she's on camera and knows how to turn on the charm. But too much consistent wisdom comes out of her mouth in a way that never falters and isn't easily fabricated or replicated. Also, I don't think that a lot of the public perception of her matches up with how she actually comports herself. For instance, I often hear that she's a "petty queen" for writing about her exes, yet she rarely ever confirms any of them as muses, herself - yet somehow, the fans run wild with speculation and parrot it back like it's written in stone when the actual foundation of some of these myths consists of one or two paparazzi photos. It has been one of the most fascinating aspects of studying this "story".

Of course, I do my fair share of speculating, too… however, I mostly do this based on their discographies or statements made in interviews, things they've actually said or written, etc, rather than fan lore.

Let me just lastly say that the collective take from the "tayfabe" crowd is that TSMWEL is about Kanye, Scott Borchetta, or Scooter.

But… as the resident clown of the group, the one thing I can offer you is maybe a different perspective, which is what you must want if you came here at all, right??

TSMWEL, in my opinion, has romantic undertones ("our bed", "it wasn't sexy once it wasn't forbidden", "you'll slide into inboxes") that I doubt she would use for someone like Scott Borchetta. Aside from references to substance use, there's being "gone by the morning", themes we see in songs like 'Cardigan' and 'Question…?' and even in the music video for 'Me' by The 1975, and a reference to a car crash, something else that pops up thematically on The 1975's debut album - most of which seemed to also be reflective of an earlier time (and, lines like "slide into inboxes" and "hung me on your wall, stabbed me with your push pins" seem only to bolster my suspicion that this song likely predates even 2014...)

"Where does this lead us?"

I guess that depends on your perception! Do you believe a person is able to repair or maintain a meaningful relationship with someone who once wronged them? Can someone write a heartfelt song about a betrayal that they've forgiven and moved past? Or must it always be perceived as "petty"? Can a song like this be purely reflective, or must it be fresh, scathing, or indicative of current feelings? We can safely extrapolate Matty didn't leave Taylor because he didn't care - he seems to have genuinely thought she was better off without him. If someone did that to you, would you maybe understand how anxiety lies to people and... ultimately forgive them? (As someone with a similar "cyclonic" anxiety... I'm genuinely curious!)

I personally believe that TTPD, like all of Taylor's albums, tells a story. Taylor does not sugar-coat things, and neither does Matty. And they're so beloved because they are willing to share their most vulnerable thoughts and feelings, right? If, indeed, TSMWEL is about our boy, well, I'm sure Matty also understands that "the good and bad end up in the song".

Now, read this quote again, but without all that pesky catastrophizing everyone seems to love doing:

"This period of the author's life is now over."

If, truly, this is a reflective album about the past (say, 2014), then maybe it means she wanted to document this period as part of her self-mythologizing confessional songwriting repertoire, but no longer dwells in the pain of it. It's probably just me, but as a fellow woman in her thirties, I just don't buy Taylor processing trauma this way! So publicly, I mean. She learned her lesson in 2016. And this album seems to be more about teaching lessons, herself, now…

But truly, your guess is as good as mine, anon. Thanks for the ask!

[thepalmofyourfreezinghand]

do you think there is a Getaway Car like song on TTPD?

Do you mean theme or sound-wise?

If you mean the former, then I don't think so, because I don't think what happened in May/June is the same as what happened in 2016.

BUT my perhaps unpopular opinion is that I kinda believe that MH actually was one of the reasons Taylor started to think about maybe possibly perhaps breaking up with Joe. I don't think she left Joe to be with him, or even that she left Joe with the intention of eventually getting together with him, BUT I do think that some things were said or maybe implied, which led Taylor to understand that she didn't have to keep staying in a relationship with someone who perhaps didn't want her anymore and didn't wanna fight for her.

Like, I don't think it's a coincidence that About you was in the pre-show playlist. I think Taylor knew that MH would be at her doorsteps in seconds if she asked him to, and I think knowing that made her realize that there were men/people out there who wanted her and that it wasn't all over.

Does that make sense? I think she was aware of MH's position/feelings/intentions before the breakup happened, but I don't think she used MH (not even in her mind) as a reason to leave Joe.