"Across five years of tireless activity, Taylor Swift has repeatedly envisioned herself in the shoes of doomed women in history and literature while coping with stress and public-relations disasters. Her folklore-era studies of tragic characters seemed to wonder whether there's a Grey Gardens in her own future. Last year's The Tortured Poets Department, which recounted Swift's breakups with rocker beau Matty Healy and actor/co-writer Joe Alwyn, bristled at expectations"
"and disappeared into fantasy. She played a gun moll on the run; she was a diabolical mathematician. The pithy "Who's Afraid of Little Old Me?" suggested she'd rather keep to herself and terrify neighborhood children like To Kill a Mockingbird 'sBoo Radley than observe any cookie-cutter standards of living. But lately, she's been getting her way in a year of overdue resolutions: She bought the masters for her first six albums and bagged a football husband."
Taylor Swift spent five years imagining doomed women from history and literature while coping with stress and public-relations setbacks. Folklore-era work engaged with tragic characters and speculative isolation. The Tortured Poets Department recounted recent breakups, leaned into fantasy, and showcased theatrical personas. Recent victories include buying the masters for her first six albums and becoming engaged to an NFL player. The Life of a Showgirl finds a millennial confronting traditional American family expectations while expressing reluctance about stability. The album is Swift’s most combative since Reputation, favoring chaos over conciliatory domesticity with lyrics that reveal lingering resentments against polished production.
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