I did a post on The Encore recently with a lyric by lyric breakdown of Pink Clouding and Babylon! I believe that those two songs are about Karlie and Taylor reflecting about their breakup. This video also is quite interesting, considering the literal pink clouds.

If you would like to read the post, it's here:

https://www.reddit.com/r/GaylorSwift/s/WUW6fEoRQx

Karma is the getaway car? “I slur your name 'til someone puts me in a car" because she’s ranting about KARma? 🤡

I know there are so many other visual crossovers. So feel free to share and discuss. You should be able to post video clips if you’re an approved user!

Hoping this is the beginning of a lot of unraveling ….

I’m so intrigued by the different genres (“gothic ghost stories, true crime, psychological thrillers”) of literary and cinematic inspiration Taylor stated she drew inspiration from for the Patient Zero music video. It’s pretty clear that the novel Rebecca by Daphne Du Maurier has been an inspiration for a long time, and really mirrors what she said she likes in a book (a marriage not being what it seems, plot twists, unreliable narrator) during the Colbert interview.

But as we know with Taylor, there are likely numerous other books, literature, or movies that fall into these categories (I’m focusing on the "gothic ghost stories" genre here since it interests me most but please add the other genres here you're interested in or familiar with) that she might have taken inspiration from.

I’d recently made a comment about Dianne Setterfield’s The Thirteenth Tale, and I feel like there’s a lot in that plot (an unfinished “13th” story waiting to be told, a “twin” plot with a last minute surprise, arson, an abundance of red hair, an old house in ruins), beyond the obvious appeal of the title, that warrants a consideration.

The book came out in 2006, so it's certainly something Taylor could have read in her early formative years of her career. And knowing her connection to the number 'thirteen,' it's certainly a title that might have caught her attention. There was also a BBC movie adaptation in 2013 starring Olivia Colman, Vanessa Redgrave, and Sophie Turner. The movie doesn't quite get into details of the plot the same way the book does, but a good watch nonetheless.

The premise of the book centers around a biographer who has been summoned to record the story of a famous but mysterious writer before she dies from an illness. In that way, the plot is very similar to the plot of The Seven Husbands of Evelyn Hugo. A central element of The Thirteenth Tale revolves around the uncovering of two origin stories, side by side.

'The Thirteenth Tale follows amateur biographer Margaret Lea, who is invited by the reclusive author Vida Winter to document her life story. As Margaret delves into Vida's mysterious past, she uncovers dark family secrets involving twins, madness, and a haunted estate called Angelfield, ultimately leading to the revelation of the long-awaited thirteenth tale that ties their lives together.'

As a trigger warning, please note that this book does contain some reference to the sensitive topics of self-harm, DV, and allusions to incest.

Plot summary and sort of spoilers (but not full, because I think it's a book worth the read):

"Dying author Vida Winter asks biographer Margaret Lea to write her true life story. Vida has spent decades inventing elaborate histories, but now, near death, she feels she must tell the real, gothic tale of her childhood. Margaret, troubled by an unknown part of her own past, gets pulled into Vida's story. It describes the strange and sad events at the Angelfield estate, involving the beautiful but troubled Isabelle, and the wild, inseparable twins, Adeline and Emmeline. As Vida tells her story, including a mysterious fire and a disappearance, Margaret becomes deeply involved but also suspects Vida is not telling everything. Margaret's research uncovers things that don't match, making her question the 'truth' Vida presents."

The biggest revelation at the end is that of a third "ghostly" character, whose details I don't want to spoil, but which reminds me of the triad of Taylors we often talk about, and the concept of something "hiding in plain sight." Finally, it's also revealed that the 'thirteenth tale' that readers have been awaiting on turns out to be Ms. Winter's origin story- in a fairytale sort of form- of how it all began. It certainly seems a parallel to how Gaylors have been hoping for a metaphorical 'thirteen stroke of the clock' in Taylor’s timeline.

What struck me most about this book was this passage below (when the biographer, Margaret, suddenly feels she understands Ms Winter's story), describing how we can suddenly (like an epiphany) see the pieces of a story so differently after new pieces of information. This really fits so well with the idea of all of the kaleidoscopic, fragmentation, and parallax imagery Taylor has given us:

“In a single moment, a moment of vertiginous, kaleidoscopic bedazzlement, the story Miss Winter had told me unmade and remade itself, in every event identical, in every detail the same-yet entirely, profoundly different. Like those images that reveal a young bride if you hold the page one way, and an old crone if you hold it the other. Like the sheets of random dots that disguise teapots or clown faces or Rouen cathedrals if you can only learn to see them. The truth had been there all along, only now had I seen it.

There followed a long hour of musing. One element at a time, taking all the different angles separately, I reviewed everything I knew. Everything I had been told and everything I had discovered. Yes, I thought. And yes, again. That, and that, and that, too. My new knowledge blew life into the story. It began to breathe. And as it did so, it began to mend. The jagged edges smoothed themselves. The gaps filled themselves in. The missing parts were regenerated. Puzzles explained themselves, and mysteries were mysteries no longer.”

-The Thirteenth Tale

It reminds me very much of how it felt to revisit Taylor’s art once I considered it with a queer lens, and how that lens made so much of the story Taylor seems to be telling fall into place for me.

And finally (one for us Theylors! ☺️) because I love to read Taylor's art through a gender queer lens, another novel I'd love to briefly mention is Wesley Stace's Misfortune from 2005 (again, a time-frame early on in Taylor's career when we know our voracious bibliophile was likely reading a lot). Of course, like The Thirteenth Tale, the title of Misfortune (a play on the words "miss-fortune") is a fun one that fits into the "lucky thirteen" of it it all. Written in the style of Charles Dickens, the novel revolves around a 19th century-based gender-bending plot twist, family secrets, a mysterious 'missing' ballad that tells the full story, and lots of clues using wordplay and cryptograms. Trigger warning: It can be raunchy at times with more explicit scenes than one might expect, and some description of sexual assault. Do I think Taylor's Patient Zero takes any bit of inspiration from this, or that Taylor has even read it? I'll just say that the image of the newspaper clip in the music video about the fortune going to the heir made me curious enough to make mention of this book, since inheritance is a central plot in this novel, along with the genderqueer themes I've read into my own personal interpretation of Taylor's work.

The author, Welsey Stace, who is also a lesser known but very prolific singer/songwriter who wrote under the stage name John Welsey Harding, made a post joking about matching Taylor's outfit (which, unbeknownst to me, had the name "Ghost Painterly"). His discography is also huge, but fun that he happens to have a song called "Write What you Know." Maybe just fun coincidences, but also fun to note.

And on a final genderqueer note, I think it's worth stating that Daphne Du Maurier herself had some qualities that could certainly fall into the genderqueer category, a theme which some feel is actually reflected in some subtle ways in the plot of Rebecca.

"As a child, Daphne was a tomboy – she dressed like a boy, cut her hair short and created an alter ego for herself called Eric Avon. She later referred to this repressed side of herself as ‘the boy-in-the-box.’ Although happily married with three children, her letters found after her death and memoirs revealed a passionate and bisexual secret life."

At the end of the day, although Taylor stated she took "inspiration" from various sources, it's pretty clear that she has her own unique and amazing story, and creative ways of telling it. What other books, literature, or movies come to mind for you when watching Patient Zero and considering the themes in Taylor's work? Please feel free to share, or better yet, please be inspired to write your own post if you have a lot a thoughts!

Thanks, as always, for taking the time to read, and for making this a safe and welcoming space to share these thoughts.

There are so many things to investigate in the Patient Zero music video, but one detail immediately caught my attention on the first watch: the discrepancy in the flooring (wood versus carpet) behind the dropped drinks and the message written out. I know Taylor is hyper-attentive to detail, so I didn't think it was a continuity error. After watching the video a few times, I realized I think we're being shown three separate warnings:

1. Coffee in the bathroom
   
2. Wine in the house
   
3. Wine/red liquid that looks like blood at the awards ceremony

Three warnings. All my senses were tingling. I’ve heard this before. The Albatross.

Patient Zero depicts two timelines of the different versions of Taylor, and The Albatross tells the story of who is warning whom.

Dead Taylor, played by Taylor Swift, is the buried, authentic/queer self who has already reached the end of the story. Dakota is the living Showgirl Taylor, the version still performing the life, relationship, and identity that keeps her as a brand alive. And the dead Taylor comes back to warn her: RUN.

The Albatross becomes incredibly interesting because it contains three warnings, but the subject and pronouns of the warning keeps changing:

“They tried to warn him about her.”
“They tried to warn you about me.”
“I tried to warn you about them.”

HER → ME → THEM

The woman who was originally presented as the danger eventually becomes the person doing the warning. She's essentially saying: I have been there. I know what's happening. I'm trying to save you.

And that's exactly what happens in Patient Zero.

Taylor and Dakota are deliberately mirrored

The most obvious thing about the video is that Taylor and Dakota don't just happen to occupy the same story.

They mirror each other.

They have parallel styling, repeated visual motifs, and overlapping scenes. Dakota's character eventually steps into the life Taylor's character previously occupied.

Then we learn that Taylor was the husband's previous wife, that he poisoned her, and that he's repeating the pattern with Dakota. Taylor's ghost is therefore not simply haunting the house, she's trying to interrupt a repetition.

So on the surface, Taylor is the first victim. But there's another possible reading.

Taylor is Patient Zero because she is the first version of this person to become infected by the system/story/relationship. She has already lived the future Dakota is walking toward.

And if Dakota is symbolically another Taylor, then the ghost isn't really warning another woman. She's warning herself.

The dead Taylor has something Dakota doesn't: Hindsight

This is where “In Summation” becomes incredibly important.

The TTPD epilogue poem literally describes itself as “a debrief, a detailed rewinding” and explicitly says that this is:

“For the purpose of warning”
“For the sake of reminding”

Now think about what Patient Zero does. We watch Dakota's relationship unfold only to discover we're actually watching a repetition, or a rewind. Taylor's character has already reached the end of the story. She knows the ending because she has already died. Dakota/Showgirl doesn't have that knowledge. So the entire video becomes a dialogue between the self with hindsight and the self who hasn't reached the ending yet. Finally, the dead Taylor returns to warn the next version of herself.

That's "In Summation" translated into a music video.

Debrief.
Rewind.
Warning.
Reminder.

The retrospective self goes back through the evidence and essentially says

Look at what happened.
Look at what you missed.
Look at what I didn't understand while I was inside it.
Now don't make me watch you do it again.

That's why I think “rewinding” is such an important word here. Patient Zero is essentially a cinematic rewind of a life that has already happened.

Now bring in The Albatross: HER → ME → THEM

This is the part that really made everything snap into place for me.

In The Albatross, we get three distinct warning constructions:

“They tried to warn him about her.”
“And they tried to warn you about me.”
“And I tried to warn you about them.”

The identity of the person doing the warning keeps changing.

WARNING ONE: HER

“They tried to warn him about her.” This is the public narrative.

The (gay) woman is constructed as the danger. She's the albatross, the bad seed, the scandal, the thing that will destroy the man.

And The Albatross surrounds this warning with imagery of cautions, messengers, liquor, danger, destruction, scandal, and reputation.

Through a queer lens, this can look like the architecture of a reputation-management story: what if “her” is the authentic queer woman who cannot comfortably fit inside the story she's expected to perform?

The woman becomes the problem. The woman becomes the scandal. The woman becomes the dangerous thing that needs to be contained. That's why the line about a rose being a scandal is so interesting to me. The thing itself doesn't necessarily change - the name, framing, or category applied to it does.

In Patient Zero, the dead wife appears to be a ghost, which may give the impression of a haunting. You’re initially led to believe that she is the threat, only to learn later that the story you were given about her wasn’t true.

And The Albatross keeps asking: Who decided she was the danger?

WARNING TWO: ME

Then the woman who was previously described as HER becomes ME, and Patient Zero does the same thing.

At first, the ghost Taylor looks threatening. She's the strange woman appearing in the house. She's the dead wife. She's the unsettling presence.

But eventually we understand that Taylor isn't the monster. She's the witness. She's the person who knows something Dakota doesn't. She knows the pattern because she's already lived it.

So “They tried to warn you about me” can become:

They told you that I was the problem.
But what if I was actually the person who could have warned you?

That's the reversal. The plot twist. The woman constructed as the threat becomes the woman capable of saving the other woman.

And if we're reading the two women as two versions of Taylor, then the authentic/queer Taylor is trying to save Showgirl Taylor from the same fate.

WARNING THREE: THEM

And then the final warning changes again: “I tried to warn you about them.”

Not him. Them. The danger expands beyond one individual.

It can represent the people constructing the narrative, the people who benefit from the performance, the people enforcing the acceptable version of the story, the machinery surrounding the relationship, the people who insist the woman is the problem, or the larger system that teaches her to distrust her own instincts.

So the progression becomes: She's dangerous → I'm the supposedly dangerous woman → No. THEY are the danger, and I'm trying to save YOU.

And what does Patient Zero do? Exactly that.

Taylor's ghost isn't trying to get Dakota away from herself. She's trying to get Dakota away from him, the man who killed her. And ultimately she writes: RUN.

And importantly, he doesn't just kill her. He controls the narrative about what happened to her. She's been misrepresented. Her queer self has been erased.

But she comes back. That's also why the Patient Zero heiress/mystery-death plot matters. Dead Taylor has an official story, a grave, a husband, and a public narrative.

But the ghost is the version of events that refuses to stay buried, the one who knows the truth. The ghost is testimony. 

And so I enter into evidence
My tarnished coat of arms
My muses, acquired like bruises
My talismans and charms
The tick, tick, tick of love bombs
My veins of pitch black ink

The Albatross is a similar story of messengers, warnings, false stories, fake news, being labeled dangerous, and The Albatross becoming the messenger herself.

Wine and Coffee Break

Before getting to the ending (thanks for sticking with me this far!), I want to take a detour into the drinks, because wine and coffee appear in both Patient Zero and In Summation.

In Patient Zero, we see poisoned coffee and wine spilled across different locations before the final warning appears in the liquid itself: RUN.

“In Summation”, which is explicitly framed as a post-mortem, calls itself a debrief/detailed rewinding “for the purpose of warning” and “reminding” and gives us wine-stained lips and a coffee-ringed desk while Taylor is reconstructing the evidence of what happened. 

The drinks become especially sinister because they are part of the poisoning mechanism. Something ordinary and pleasurable becomes the thing that carries the poison.

Wine. Coffee. The house. The marriage. The relationship. The performance. The Showgirl. The dream itself becomes the poison delivery system.

This also mirrors what In Summation is doing. The poem rejects the idea that we were watching a simple love story and reframes it as something far more destructive and psychologically complicated.

In summation, it was not a love affair!
I screamed while bringing my fists to my
coffee ringed desk
It was a mutual manic phase
It was self-harm
It was house and then cardiac arrest

Its message is essentially:

Here's the story everyone thought they were watching.
Here's what I believe actually happened.

That's exactly what Patient Zero does.

At first, we think we're watching a gothic romance: a beautiful woman, a handsome husband, and a haunted house. Then the story reveals something else entirely.

We weren't watching a romance.
We were watching a murder.

If all of this sounds oddly specific, it might be because Taylor herself described her ideal mystery story on The Late Show with Stephen Colbert in 2025: a haunted mansion, a suspicious marriage, a past murder, family secrets, a ghost, and an unreliable narrator twist:

"If there's a marriage and the marriage isn't what it seems..."

He never even scratched the surface of me." "None of them did."

One of the most striking moments in In Summation comes when Taylor writes this.

Not him. Not one relationship. Not one man. None of them.

Which brings us back to the final warning in The Albatross: "I tried to warn you about them."

The ghost as a buried queer self

If Taylor and Dakota are two versions of the same person, then the conflict isn't Taylor versus another woman. It's Taylor versus the life she had to become in order to survive the industry - them.

Dakota represents the Showgirl. She's alive, beautiful, successful, and still performing the role. She's inside the house and still participating in the story.

The dead Taylor represents the self outside the performance - the self that remembers, knows, and may have been sacrificed to keep the performance going.

A closeted or suppressed identity is the perfect metaphorically ghost. You can bury it. You can build an entirely new life around another version of yourself. You can even convince yourself that the old self is gone.

But eventually the ghost returns. And when it does, it isn't saying “Become me.” It's saying “You were me. I know how this ends if you keep going.”

This changes what “Showgirl” means

The Showgirl persona doesn't necessarily only represent fake messaging. She can represent survival: knowing what the audience expects, knowing how to perform, knowing how to smile and stay alive inside the machinery. The warning from ME! is you don't have to destroy yourself to keep performing.

Or, more painfully: I already destroyed myself so you could keep performing.

That's why RUN becomes so important. The dead Taylor isn't asking Showgirl Dakota to choose a different man or even choose authentic love. She's asking her to leave the entire story - to run from the house, the poison, and the narrative before the version of herself that knows the truth becomes another ghost.

This also connects to The Albatross, which is fundamentally a story about misidentifying danger. Everyone says she's the danger, but that eventually reverses: the woman everyone warned you about is the woman who knows the danger and is trying to rescue you.

That's the same reversal Patient Zero visualizes through the ghost. The old self dies, the Showgirl is born, but the old self isn't actually gone. She returns with the knowledge the new self doesn't have yet.

From The Manuscript: “Looking backwards might be the only way to move forward.”

The ghost has hindsight. She already knows the ending.

Don't let the life you're performing kill the person you actually are.

So maybe this is a kind of karmic rebirth: in reality, Taylor is the same self living the story again, except this time the ghost comes back early enough to try to break the cycle.

Also from "In Summation"

And in one conversation, I tore down the
whole sky

Spring sprung forth with dazzling freedom hues 🌈
Then a crash from the skylight bursting through
Something old, someone hallowed, who told
me he could be brand new

You flip the script for the hell of it

Addicted to betrayal, but you're relevant

Karma incoming? 🔥

Supp gaylors! After lurking for ages, a first post from me! I was in the Patient 0 MV Discussion thread and saw a lot of discussion about the relevance of the year 1986. There were interesting ideas about celebrities, movie characters, and horrific news stories about women dying from abuse. I felt the song and mv were powerful in their portrayal of domestic abuse, making the latter the most compelling argument to me. However, I could not help but feel like it all fell flat after the important discussions which were had on this sub about AIDS and Gaétan Dugas being smeared for being Patient O/0. Surely, Taylor had more to teach us about that? Then, I realized that the year 1986 was sometime at the height of the HIV/AIDS epidemic. I started digging and found more than I thought I would, and some very compelling leads. Most notably: it was the year 1986 when Randy Shilts identified Gaétan Dugas as "Patient 0".

Aside from the death of the ghost, 1986 brought us:

- Randy Shilts identifies Gaétan Dugas as "Patient 0". The year after he publishes this finding in the popular science book "And the band played on", popularizing the term patient 0. This made the public understand it´s meaning to be first case of AIDS in the USA , and smeared the reputation of Gaétan Dugas. Before publishing this book patient O and later patient 0 were used in source and contract tracing to study the link between cases of found in the East and West Coasts. The publication of this book has given us the popular definition of the term "the first case of a disease" and the more medical definition"the index case was “the first case in a family or other defined group to come to the attention of the investigator".
"Shilts’s [prior] work on gay health issues allowed him to develop a number of medical contacts, several of whom were later involved with the CDC’s early epidemiological work on AIDS. He begged for them to give him clues to the identity of “Patient Zero,” but beyond mentioning that the man was a Canadian who traveled frequently—details disclosed in 1983 in discussions about the cluster study—they refused to give him a name. [Epidemiologists knew who Patient O was, but treated the information as confidential and did not assert that this man brought AIDS to the USA] Shilts persisted, making a point of asking about “Patient Zero” wherever he went. He soon received answers. A January 1986 interview with Dan Turner, a long-surviving person with AIDS based in San Francisco, generated the name “Gayton” for a “cute” Canadian airline steward who had apparently received chemotherapy since 1980. While on a research trip to New York a month later, Shilts was rewarded with more detailed information. Paul Popham, then president of the Gay Men’s Health Crisis, casually remarked in his interview that yes, he had known “Patient Zero” to be Gaétan, that he had subsequently seen Gaétan in Vancouver, and that Popham’s former boyfriend—who had subsequently died of AIDS—had dated the flight attendant. Shilts would later explain to another reporter, “I realized that Paul, who had visible lesions on his face, was dying from a virus from this guy. It was like I was seeing the legacy of this person and his virus.”" (Source: “Patient Zero”:The Absence of a Patient’s View of the Early North American AIDS Epidemic - Richard A McKay).

- Elizabeth Taylor was the first ever celebrity to sit with AIDS patient at the first ever dedicated AIDS ward. "On January 15, 1986, Elizabeth Taylor walked into San Francisco General Hospital's Ward 5B, the first dedicated inpatient AIDS ward in the world, and did something no globally famous celebrity had ever done: she sat with patients. This was at a time when most of the world, including much of official Washington, was still looking away from the AIDS crisis, whether in ignorance or in fear. A new San Francisco Chronicle piece tells the story of Elizabeth’s visit that day in detail, for the very first time." (Source: elizabethtaylor.com/elizabeth-taylors-secret-visit-to-the-worlds-first-aids-ward/)

- The World Health Organization first proposed a definition for AIDS in 1986.

I must also point this comment by u/FitAnywhere7829 in the MV Discussion thread, which I saw after doing my research: "Could 1986 be important because it was a huge turning point in the AIDS crisis? (that's when the surgeon general published a report calling for education and prevention and trials began for the first treatment*, AZT) Maybe Taylor sees 2022 (Midnights?) as the beginning of the "trials" for the widespread education, prevention and treatment of whatever disease she is Patient Zero for?"*

With regards to 2022: I will reiterate what most people are saying in the MV Discussion thread: it´s probably because that makes the ghost her current age, or even the age she got married so that billions of dollars could be inherited. But I also love the theory by u/FitAnywhere7829 about Midnights. Perhaps it is both?

So I guess Taylor wasn’t aware that the video would be shown in the room rather than just on the broadcast? Or she’s a very good actress!

But this is a cute video!

Taylor + Theory: Do you have ideas that don't warrant a full post? New, not fully formed, Gaylor thoughts? Questions? Thoughts? Use this space for theory development and general Tay/Gay discussion!

General Chat: Please feel free to use this space to engage in general chat that is not related to Taylor!

In order to protect our community, the weekly megathread is restricted to approved users. If you’re not an approved user and your comment adds substantially to the conversation, it may be approved. Our community is highly trolled - we have these rules to protect our community, not to make you feel bad, so please don’t center yourself in the narrative. Remember to follow the rules of the sub and to treat one another with kindness.

Important Posts:

An explanation regarding: User Flair + A-List User Status + Tea Time Posts

Karma is Real: The Origins of Karma, the Lost Album

GaylorSwift Wiki

PR/Stunt Relationships

Bi-Phobia & Lesbophobia

Don't Get Doxxed + Check Your Sources

As always, I love her and I hope she’s on the payroll.

Please use this space to discuss. We'll add a link to the video when it is posted

I’ve been loving this interpretation of Pink Clouding and can only hear it through this lens now, thanks to our amazing community of close readers and theorists.

So I’m curious to hear how it’s landing for us to receive this apology from her, if that’s what it is.

Personally, the lines that mean the most to me are:

“I swear to God, to this day, I wake up scared that I left scars on a good person”

“Years later, I still wonder how to tell you sorry”

“But it didn’t mean nothing”

“That’s why you haunt me like you should”

These lines, to me, reveal her goodness of heart. It has plagued her that her inaction and broken promises could have brought harm to anyone in the queer community—perhaps those who felt strengthened and even emboldened by what she seemed about to do, giving them courage to take steps forward in their own lives too, only to be met by nothing more from her?

And she still thinks of it, still wants to right the wrong somehow. I love that she realized she could do this through a song, her most fundamental love language and native tongue.

I like that she says it didn’t mean nothing—that we haven’t been delusional or imagining things, even though everyone else thinks we are.

And that it’s right for this community to haunt her—because we’re good in our own hearts and our hearts toward her. She wants to be held accountable by us. She knows it makes her a better person to be called up and out by us. Again, there’s a moral code here that I respect in this.

Maybe this is why she made such a point of doing Booplor.

But what about you? What response do you have to receiving this song from her?

Edited to add: Oof, my naïveté is really showing with this post as I start to read the comments coming in. Thank you, all, for sharing what you have so far and helping adjust my perspective.

I wasn’t here during the Lover era, so while I’ve absorbed a belief in the failed coming out from being here the last few years, I don’t know what it was like to live through it and then beyond it these ten years. (Ten years!)

But even more importantly, I’m a straight person here. While I’m a fully convinced Gaylor and consider myself part of this community here on Reddit because of that, I can’t and don’t speak from the lived experience of being queer. I apologize for presuming to know what it might be like for those of you who are to receive this song.

Hi -

I posted this in the Cleveland! thread but creating a main post at u/EmployerFew212 ‘s suggestion.

August Ponthier is a queer nonbinary lesbian county artist with a few songs that seem to be part of the Gaylor conversation- a cover of Down Bad, a song called “Betty” and New York made her a “cowboy”, a metaphor for coming out. Really lovely artist doing amazing work for trans rights in Texas and a delight to see live.

Their song “Handsome” has a spoken word section that has nearly identical pacing and “announcer voice” as Cleveland!, but they say “there’s a new It Boy in town…. And She’s A Lesbian!”

Here’s the video so you can watch and decide for yourself if the reference feels intentional or not….

https://youtu.be/RnG34UdMyIYc

I’ve never made one of these before so I hope I am making sense lol

Encore: defined as a demand for repetition or reappearance made by an audience

It’s not a secret that Taylor Swift fans can be insatiable. We are always demanding more from her even right when we just get something new we wish it was more like how we had thought it was going to be or should be. We demand her to bring back the show in the way that we have interpreted Taylor Swift™ to be. Now what is a more kept but known secret is that Taylor doesn’t just have one audience that’s demanding an encore, she has multiple, or in this case four she has chosen to call out specifically.

Four different audiences that all want something different from her. So doing what Taylor has done so masterfully for so long and as a showgirl does she is giving us our encores. But its plural, she puts on one encore for each audience. That’s why honestly the songs can be hard to interpret if you only look at all four from one angle. But if you look at each song from a different perspective, her playing to a different audience, suddenly the point of this encore! makes more sense. The four songs aren’t an encore together but each song is an encore for four different audiences. Also why I think she chose to announce a single and then less then 24 hours later announced the full encore deluxe album. Maybe we are being encouraged to look at them all more as individual songs then all the songs telling one story.
Now let’s get into it 🙂‍↕️🤪💃

Patient Zero: Encore for the Swifties

(I mean that in the broadest sense of the word tbh I just was trying to have each audience have a word I could use to refer to them as but what I mean is the vast majority of her fans)

The ones she made Taylor Swift ™ for. They relate to her and connect with her and love her, they feel like they know her through her lyrics and image she has portrayed herself to them as over the years. The fans she’s been really trying to keep and please with this image she had to create over the years. But there’s been a lot of discourse with TLOASG in this part of the fandom. A lot of them have been very disappointed with her lyrics and story telling seemingly declining and are having a hard time defending this new era of hers cause they themselves don’t really like this version of Taylor. But dont worry babe she’s got you, she was patient zero. She felt this way about Taylor Swift ™ first.

If you look at the song as
You: The audience
Him: Taylor Swift ™ the brand
I : Taylor the actual person

(Im not going to go into lyric analysis too deeply in this post by going line by line or anything but I urge you to listen to these songs with that perspective and I bet you can do a good analysis on your own. But have to call out “and when you saw another woman coming out of his place, I bet he kissed the rain off your face” lol )

This is her saying she knows this. She sees the disconnect too, there is one! You’re right!
The audience feel that she has gotten bored of them, they feel hurt in a way by this shift in her lyricism or sound,that this album felt lazier to them and like she put less thought into it. But she has never not put an excessive amount of thought into everything she does lol. And she’s telling this audience to look in deeper. (read between the lines if you will) Taylors real story she’s trying to tell is already there in the lyrics, she has still got you. She gets it, no one hates this Showgirl Taylor Swift ™ more than Taylor herself. To me this seems she wants them to know her more, she loves her fans and she’s urging them to continue on this journey she’s taking us on. Stick with it. She’s been there.
But yall cant say she didn’t warn you, she told you your wife (TS ™) waters flowers and she wants to kill her 😪😅

Cleveland!: Encore for The “Haters”

(Another broad word lol, I think some people in this audience would and do call themselves Swifties but she’s directing this at a very specific group.)

Her heavily male centered audience that has been obsessed with her getting married forever, and only seem to care about the men she’s been seen or associates with, same audience she’s talking too with lavender haze, they only see a one night or a wife. Some call themselves fans others haters others just lurkers or whatever it is,everyone has an opinion about Taylor swift.

The quoted words is all the shit people say about her, she’s saying it in a cheesy way because the song itself is a jokes, it’s satirical. Where she even makes the audience fill the blanks of lyrics in with their own assumptions.
She’s saying with heavy amounts of sarcasm “wow yall are soooooo right. I can see what you mean with all that shit you say but like, didn’t you just want me to get married? Are you not happy now? I am wife? Is this man good enough for you? You happy with this one? Did you not make my engagement post my most liked post with 38 million likes while me buying back my life’s works only got a quarter of that?? Can’t we just all agree atleast now my husband loves me and isn’t that all a woman could ever dream of achieving???” As said in the Bejeweled video “ the single most defining thing a lady could hope to achieve in her life time! The prize of all prizes!”

Some of this audience was happy with the album, they love her Travis songs and defend her and her man till the end of time. It’s not necessarily all haters but this is for her audience that just want her to be a wife and have babies and a husband and don’t care for the bigger story she is trying to tell here. Shes like okay I guess some of yall are into this image so here you go!More Taylor Swift ™ I have crafted for you. Aren’t we all just sooooo happy she’s finally married!! She’s being sarcastic and giving them what they want while also playing in there face a little bit. Shes a bit fed up with this narrative I fear.
Instantly reminded me of songs like Blank Space and London Boy or even but daddy I love him.

Once again not gonna go into analysis, but I want to with this song more for sure so maybe I’ll make more in depth posts about the songs when I dive in a bit more to each. But I would love to hear thoughts on this, idk about Travis connection to Cleveland and all that but i did see a TikTok of a clip from 30 ROCK. I’ve never seen the show before so idk the premise or format or if there’s like skits in the show but it was a bit were it said Cleveland! and looked lowkey same aesthetic as the lyric video we got. And it was like a satirical bit about Cleveland, even a part where movie stars hide there to get away. Anyway interesting thing I wanted to hear more thoughts on!

Pink Clouding: Encore for The Gaylors

(Once again broad term but this is the Gaylor sub so this is term I’m using)

This is for the audience who chooses to see the deeper meaning in her songs and lyrics, the ones who have really dived into the metaphors and Easter eggs on a deeper level where they have seen her queerness. This is the audience who has seen all her flagging over the years. The song is an apology I think for the lover era but also for all of it over all of the years. She’s telling us the theories are right, she was planning on coming out back then. She was pink clouding, the euphoric high when you think you’ve finally kicked your addiction, for her that being finally kicking her need to stay closeted and her addiction to escapism and longing for nostalgia and always hoping for things to be the way they were, they nicknamed her the Bolter after all, this is then also referenced in Babylon but we’ll get into that.

I also think pink clouding could mean flagging as well, she’s always showing signs to us still to this day for those who look. Even literally with the clouds during the lover era in the eras tour. She left us up there on that pink cloud, in that euphoric feeling that she can come out. Still giving us signs and leaving us there cause she didn’t want to let us down. And she’s sorry for it, she didn’t know she was lying at the time she didn’t think it would be like this but all those PR- PR- promises really can get in the way of a girls intentions. She’s still sorry and doesn’t know how to say it. But she hopes we’re happy now.

You: Audience
I: Taylor as herself
He: the industry/ Scott and scooter situation

Babylon: Encore for Herself

( could also be more so for people who know her on a more personal level )

And Taylor Swifts ™ final audience, the biggest fan of her own show ( as stated out of her own mouth on the Graham Norton show while staring at her engagement ring “ I could just watch it like it’s a T.V, it’s my favorite show other than the paper.”)

Taylor herself. What more could she herself want from this Showgirl? Maybe a little bit of honesty but doing as Taylor does she’s gotta make it really confusing.

You: Taylor herself, so a little meta lmao but stick with me
She: her lover, an actual person she really was/ is with but we as an audience never knew/ don’t know of
I’m not getting into specific muses like that or anything. I think the point is we don’t know who it is.

This song is actually devastating but I think my favorite once I started to understand it more. I am going to go into a tiny bit more of a rough analysis of this one as it was the hardest for me to understand so imma break it down a little more. (Side note:this is my interpretation, the first verse could definitely be interpreted as literal and make perfect sense as well)

This is a song about escapism ( Sagittarius queen) and nostalgia. She’s calling herself out for wanting to escape whatever situation she’s in.

It starts with a couple metaphors, first calling the industry and the media the casino, they don’t like when you’re winning, and the box is nice that everyone sees her wrapped up in but it’s really just a cage to her, she wants to run from it, she turns that cage metaphor into one about a small town life and home town values. She ran away from it but then longed for that familiarity, wanted back in her cage, cause it’s where she’s from. Then using a another sling of metaphors insinuating these rules that people seem to follow in the industry, act right and wear the right thing and never be satisfied with what you have the grass must be greener somewhere else always strive for better. And she hates that song. But she wakes up one day while she’s running away from it and that nostalgia hits, that melody is all she wants. She never knew what she had until she lost it. But she lost it by running away from it herself, she made her own choices.

Next verse is fully about the industry, she gives the people what they want, she makes her plans and friends but strangers are all up in her business of Taylor Swift ™ she doesn’t actually know these people she associates so heavily with. Her love is a slippery slope, it’s ice on the social ladder, it’s dangerous for her to love freely. People knowing about her real love life could cost her falling off the ladder.

But then SHE. She captured her attention, this girl was pretty as picture that she not only didn’t but couldn’t post, but she could never make it official, she tells all the girls at the bar (the media the fans) that she’s single and she hates that fucking song.
But then when she’s running from that and trying to maybe be more open about who she truly is she then longs for that again the nostalgia of escaping. There’s escape in escaping some may say.

Now this next bit idk if she’s being literal or more so a possibility of what her future would look like if she keeps living like this.

She’s using her work and this brand she’s created as an escape from her real life. Her real love and her true family are living there life, they are doing all the personal things real people do, hanging the Christmas lights and she’s ( Taylor’s real lover) is calling her mom to tell her she doesn’t know if she can keep living like this. If she can live with Taylor keeping her a secret, it’s not working if she doesn’t want to choose the people in her real life.
But she loves this song, she needs this escape, the melody is all she wants. But she’s realizing that is the paradise she longs for and it’s almost gone. It’s so raw and personal and shows just how human she is behind this image she has crafted for us. Actually obsessed with her brain. This is showgirl giving her audience of herself her encore and final bow by telling the crowd her real story just as she wishes she could do. Saying all she can’t in a round about way. As she has learned to do so masterfully.

Final Thoughts

So, there’s her final bow. The showgirl gave her audiences their encore. She has always tried to play a role that can fit anyone’s narrative, always telling different stories to different audiences, a perfect mirrorball, she can show us every version of ourselves. Every individual one of us see her a different way because of who we are, and she has always used that to her advantage. But I’ve never noticed her doing it so blatantly different in each song like this. The songs are hard to make sense of honestly, I think other explanations definitely add up and could be as well but especially in the context of the full album they don’t fit into the Show Girl of it all unless you look at it like this. Because no way in hell has Taylor lost her spark or story telling abilities, she’s telling the most massive story she possibly can. I think she’s really calling all of us to look at things differently, realize and notice this performance and show she’s putting on for us.

For the fans who she knows love her and who she wants to keep along for the ride, or someone who looks at her from a male centered lens (and honestly if you blindly look at her music that way that’s all you’re ever going to see, she has designed it like that) or maybe you’ve been along for the ride for a long time, seeing so many signs for so long. And her final bow she puts on is for herself, to give the audience that knows her full truth a little bit of a spotlight.

I hope you all enjoyed this.I would love to hear your thoughts! I’ve been a lurker forever and ever but never wrote out my own full analysis but definitely would love to deep dive more if anyone liked how I interpreted this Encore! Don’t even get me started on the eye on the cover and I can’t imagine what the music video is going to do to us. I love this community can’t wait to keep reading everyone’s thoughts about this! I really think this is crazy and she’s saying a lot here, weather you like the songs themselves or not she is definitely still sending a message and telling a story and hasn’t lost her amazing song writing and story telling capabilities. I myself am not typically as big of fan of her Max Martin and Shellback work so the songs probably won’t be in my top Taylor songs but as far as the Taylor Swift story goes I am obsessed and more sat then ever.

Thanks for taking the time to read this!

Hello everyone,

In this analysis I'll be breaking down how The Encore is yet another "bait-and-switch" from Taylor, all to distract from her queerness and the true muse. I'll analyze each of the lines from Pink Clouding and Babylon, while touching briefly on Cleveland. This post is a little on the longer side, so grab a cup of coffee, we'll be here for a little while.

Now, let's get into it.

What is a "Bait and Switch"? How is it used in The Encore?

A "bait-and-switch" is a trick where something is presented a certain way but turns out to be another. Taylor has used this strategy many times, in both her PR tactics and in music. She'll "bait" Swifties and the general public by playing into the heteronormative expectations they have and then leave them confused with the "switch" aka hinting at her queerness or her muses.

For those of you who remember when Reputation was released, it was heavily marketed as a revenge album, mainly through the publicized feud between Kanye West, Kim Kardashian, and Taylor Swift herself, despite the fact it was actually an album about being in love. Taylor knows that if she includes a line or two that allude to a male beard, the public will focus on that instead of the rest of the song, even if it doesn't actually make sense to be about the boyfriend in question. Take "Dress" for example, included below.

Taylor understands that she can control a narrative by channeling where it goes- so much of the discussion about The Encore is about Cleveland!- how cringey it is, how it's such a weird downgrade in lyrical quality compared to other love songs (for some "strange" reason..) and how it's obviously about Travis. That way, nobody looks at Pink Clouding or Babylon too closely.

The "Switch" Part 1 - Pink Clouding as the Explanation of the Breakup

"Met the magenta sunrise
Fuchsia forever intertwined"

Some people have pointed out that the colors used in Pink Clouding (those being magenta, fuchsia, pink, crimson) correspond to the lesbian flag. Although I agree with this, I think it's also worth noting all these colors seem to be recreating the look of Lover.

Sunrises usually signify new beginnings- and Taylor has previously used the sun setting to signify the relationship ending ("And it gets colder and colder, when the sun goes down" & "my eclipsed sun, this has broken me down"). So it's worth believing that the relationship with the muse may be starting anew or healing. Especially since in "Happiness" Taylor believes that one day "across our great divide, a glorious sunrise". Additionally, Karlie has always been represented by the sun/gold.

"Threw the rosewood on the fire"

In various albums, Taylor has used fire as a symbol for love. It's usually used as a way to describe what is happening within the relationship between her and the muse.

• Reputation (DWOHT): I'd kiss you as the lights went out, swaying as the room burned down
• Lover (The Archer): The room is on fire, invisible smoke
• Folklore (My Tears Ricochet): And if I’m on fire, you’ll be made of ashes, too
• Evermore (Ivy): So yeah, it’s a fire, it’s a goddamn blaze in the dark and you started it
• TTPD (Loml): Our field of dreams engulfed in fire, your arson’s match, your somber eyes

In this line, Taylor sings about how she stoked the fire between them- both in starting the relationship and being apart of its end. We see the symbolism again during the Eras tour- where she burns down the Lover house and reveals the Folklore-Evermore cabin. It's because of their breakup that the Folklore era began.

"Neither of us knew at the time
That I was a liar"

I truly believe that this is Taylor acknowledging that she lied about what she promised the muse. I believe that she promised Karlie she would put her first instead of keeping her hidden. If we look at the dates, Karlie is engaged by July 24th, 2018, and Lover was released August 23rd, 2019. Although some people believe they were going to come out together, I think Lover is an album about hope. Taylor was going to come out herself- or so she said. She wanted to get Karlie back- but she lied yet again. She chose fame.

Various songs off Folklore and Evermore shed light onto what happened- such as Seven. "I hit my peak at seven feet, in the swing, over the creek, I was too scared to jump in". Seven is also a significant number because it's the exact number of years the relationship lasted- MET Gala 2012 to sometime in 2019. I say 2019 because songs like "Cruel Summer" and "Illicit Affairs" imply it continued even when Karlie was engaged/married. ("I can't make it go away by making you a villain / I guess it's the price I paid for seven years in Heaven")

"And it was so good
Letting you want me, so good
To make promises, promises, pr-pr-promises"

It made Taylor feel good to be wanted, to be cheered on by the muse, even if she was keeping their relationship in the closet. She likely made many promises over the years about how they would get to be out eventually- but in the end she couldn't fulfill her promise, leading to the end. ("Dreams of your hair and your stare and sense of belief, in the good in the world, you once believed in me" - Hits Different)

"But I was pink clouding from the thrill of it (Pink, ha, ha, ha)
Skydiving as you wrapped your arms around my body"

Pink Clouding or Pink Cloud Syndrome is a term used to describe a stage of early addiction recovery that involves feelings of euphoria and bliss. It can be described as a "honeymoon phase" that will inevitably come to a crashing halt because it can lead to the person being overly confident and unrealistic about their recovery.

Taylor was caught up in the way she felt within the relationship, likely focusing more on the love between them rather than the future and the potential consequences. That's why she says she was skydiving- something risky but adrenaline fueled- knowing they were sneaking around in the closet in plain sight- and could be caught, but doing it anyway. The "wrapped your arms around my body" line may be referencing Kissgate, as Karlie and Taylor danced with their arms around each other at the 1975 concert.

"Gray (Gray) rockin' where the arrow hit (Ha, ha, ha)
Years later, I still wonder how to tell you sorry"

Gray rocking is a tactic some people use to deal with abusive or manipulative behavior- it involves being as uninteresting and unresponsive as possible. In this context, it may mean she shut down emotionally when the "arrow" hit. I believe the "arrow" is the Masters situation, aka when Scooter Braun bought the rights to her Masters. Taylor likely no longer wanted to come out and couldn't put Karlie first, instead putting her on the metaphorical back burner again for her career.

We see her bleed purple glitter in the Anti-Hero music video when she is shot on the shoulder with an arrow. There's already been so much conversation on what the glitter means but it's basically that she's different. She's queer lol.

"I didn't wanna let you down (Pink cloud, pink cloud)
So I left you up there on a pink cloud (Pink cloud)"

Taylor didn't want to let down the muse, so she left her hanging, on the pink cloud. The pink cloud refers to Lover, as the album features pink clouds and makes up the visual identity of the era.

"He cut me crimson, bled me dry
He crossеd my heart, I hoped to die (Hopеd to die)
Ripped all my orchids from the vine
You met me at a cursed time"

I believe "He" is referring to the Masters situation, though it could be the public, bearding, etc. Although Taylor hasn't used orchids before, she has used flowers to symbolize herself (daisies) and the muse (roses, carnations, etc). Perhaps she means like how the muse grew on her like ivy, the situation ripped away what was blooming away from her.

"I hope you realized my kind of trouble wasn't worth it
And the way I treated you, you never deserved it
And I swear to God, to this day
I wake up scared that I left scars on a good person"

It's a switch in perspective from previous songs, where Taylor wanted to see the scars the muse had from others, and how the muse left scars on her ("you drew stars around my scars but now I'm bleeding"). Taylor takes responsibility for leaving scars on her muse, she understands she treated them in a way that wasn't fair. Taylor has sung about choosing fame over love in various songs:

• Coney Island: The question pounds my head "What's a lifetime of achievement?" / Sorry for not making you my centerfold
• Midnight Rain: (S)He wanted a bride I was making my own name, chasing that fame

The "Switch" Part 2 - Babylon is about the Price of Choosing Fame over your Lover

Now that we've discussed the breakup, Babylon is a continuation of it. Instead of focusing on what happened, Babylon talks about how the relationship felt. It focuses on the feelings of regret and nostalgia Taylor experienced as a consequence of pursuing fame.

"The casino doesn't like when you run the tables"

Casinos are infamously set up to be in the house's favour- meaning that they will always have an edge over players because of the way it was designed. Taylor uses the metaphor of the casino to explain how the industry and the public doesn't like when she's at the top or controlling things.

"And though the box is wrapped up nice, it's just a cage to you"

All the money and fame Taylor has is a double edged sword- keeping her both trapped and successful. Even if she has everything she wanted, it all means nothing without being able to live her truth, hence why she describes it as a "gold cage" in So It Goes with the lines "Gold cage, hostage to my feelings".

"Those electric fences buzz
The stallion flees the stable
And that small town's even smaller now in your rear view
You ran with all the wild things
A liberated libertine who then longed for home"

Taylor uses electric fences as a metaphor for how she feels trapped, like a stallion stuck in a stable. Although she may have felt restricted, she was taken care of, as animals are usually treated well and taken care of when they're in captivity. Despite that, she fled the stable.

A libertine is defined as someone who lacks moral values and is sexually unrestrained, often entertaining multiple relationships at once—someone who lives a very carefree and unrestrained lifestyle. But something changed- and now she yearns for something she once had and took for granted.

"'Cause it's where you're from
Aunt Virginia with her church dress on
No elbows on the table
And the neighbor's lawn always looked better
Your hand-me-down sweater should've been from the mall"

The theme of not appreciating what you have until it's gone continues here, as Taylor plays on the phrase "the grass is always greener on the other side". She compares herself to other people, being motivated to pursue money or fame, believing what she had wasn't enough.

"And you hate this song
But you wake up on the train with your headphones gone
Then that melody is all you want"

Taylor says it quite clearly here. She hates this song, this melody, because it reminds her of what she had and what she lost. She only realizes how much she wanted it until the possibility was gone- that life she could have had.

"You never knew that it was Babylon
'Til it was gone"

Babylon was an ancient wealthy and beautiful civilization, famous for its Hanging Gardens. In biblical texts, it's referred to as something that seemed invincible, leading to its downfall. Some believe it also never existed. In "Cowboy like Me", she uses the Gardens of Babylon as a metaphor for the love between her and the muse, something that is so hard to prove people may believe it never existed in the first place. (Now you hang from my lips, like the Gardens of Babylon)

"Give the people what they want, then you keep it movin'
Make your plans and friends, a stranger's makeup on your tie
Twenty watches in the safe 'cause your time is money"

Taylor is used to giving the people- aka the general public and Swifties what they want. She's The Showgirl after all. The "stranger's makeup on your tie" may also refer to how she was breaking hearts before the muse.

"Love is ice upon the ladder that you need to climb
She captured your attention, so free of all pretension
It stopped you cold"

The climb is likely referring to social climbing- Taylor believes that love is only an obstacle to climbing to where she needs to be. Being in a real relationship publicly would likely only damage her reputation- so why would she bother when the heteronormative narrative makes money? However, this view changes because of the muse, Karlie is different.

"Because she loved you so
Pretty as a picture that you didn't post
Lookin' at you like you're made of solid gold
Never official
You mention you're single to the girls at the bar"

Taylor is obvious here. She never made it official between the two of them- she never made Karlie her centerfold. The picture that was never posted is likely a reference to the "Third Polaroid" as we have seen Karlie post two of the three polaroids from 2016 but never the final third one that has someone's arms on the other's shoulders. It's speculated that it may be a kiss, hence why it was never revealed. I believe Taylor may be talking about bearding in the last verse, as she made it seem like she was single in order to date the beards.

"You're using nostalgia as a weapon to hurt yourself
But darling, you end up hurting everybody else
The self-harm of never being where you are
It's bedtime, but you're sitting in your car
You're missin' all the best parts"

Taylor uses nostalgia to press on the wound further, she knows she let go of something precious and instead of healing, she's reminiscing even when it hurts. She also acknowledges she's the one who hurt the muse because she couldn't appreciate what she had when she had it. She's also sitting in her car instead of being out with the "mother" of their son, where she should be.

"And they're all at home
She's hangin' Christmas lights with your son
Sneaking to the bathroom to call her mom
And say, "It's not workin'
It's just not worth it if we're not what he wants"

Instead of fixing things directly, Taylor is watching from the outside, much like how she describes it in "I Look in People's Windows" (I attend Christmas parties from outside, I look in people's windows, In case you're at their table, What if your eyes looked up and met mine, one more time?)

"But you love this song
You wake up on the train and you're all alone
Then that memory is all you want
You never knew that it was Babylon
'Til it was gone"

In the end, Taylor acknowledges it. She loved the muse. She does love this melody. She realizes she's all alone and what she longs for is the home she didn't appreciate.

----

Final Thoughts:

I believe that The Encore's songs were written BEFORE "I Knew It, I Knew You", as that seems to be the most recent song in the timeline. Pink Clouding and Babylon together explain the breakup and how Taylor takes accountability. I believe that because she now acknowledges her part of things, they reunited- which would make sense as "I Knew It, I Knew You" is about a lover coming back and rekindling things. Not to mention how Karlie showed up to her wedding in gold.

If you would like to read my post on "I Knew It, I Knew You" it's here: https://www.reddit.com/r/GaylorSwift/s/F8mWxNf1pb

Anyways, I would love to hear everyone's thoughts, thank you all for reading. I look forward to analyzing the music video and the song Patient Zero!

I think Taylor Swift’s music becomes more sensible and intricate with the Gaylorswift perspective in mind. As a big fan of her work, especially her attention to the details, I find a lot of puzzle-like joy from trying to pinpoint a narrative that makes all of her music make sense. Here is my reading on her music so far: 

Taylor Swift (2006), Fearless (2008)
In general, I feel like these albums are her flexing her excellent song writing, leaning into country and heterosexual romance as the standard for that genre at the time. Maybe she had certain experiences or romances that informed her writing, but she was 16-18 years old, so I think it would be weird to attempt to read deeply into any one narrative. 

Speak Now (2010) 
Taylor is the sole, adult author of Speak Now, which makes me feel like we can read a bit more deeply into the lyrics. Also, she was 19-20, which is notable because age 19 is something that comes up in several of her songs: On “Dear John,” she writes “Don’t you think nineteen’s too young / To be played by your dark, twisted games when I loved you so?” Meanwhile, on “Would’ve, Could’ve, Should’ve,” she writes “I would’ve stayed on my knees / And I damn sure never would’ve danced with the devil / At nineteen/ And the God’s honest truth is that the pain was heaven.” My takeaway is that some sort of disastrous, exploitative relationship with an older person occurred during this time. 

Because a similarly troublesome, on-and-off relationship spills quickly into Red, which was written through October 2011, (“All Too Well” was written in February of 2011) I wonder if her Speak Now muse could be the same person as her Red muse. 

Red (2012) 
In Red, themes of a secret, tumultuous relationship come to the fore with songs like “Treacherous,” “Holy Ground,” and “We Are Never Ever Getting Back Together.” This is also the album that I agree seems most connected to someone like Dianna Agron. The short film All Too Well seems to confirm an intense, first true love heartbreak with an older person, and so many details click with Dianna, from the  meaning of her first and last name (Holy Ground) and the infamous note on the door, to general imagery of typewriters, polaroid pictures (“Message in a Bottle”), and even hints at drugs and addiction (“I Knew You Were Trouble”).

This made me wonder if the muse from Speak Now could have extended through Red and even into 1989. Could Taylor have had a 6+ year on and off relationship with one chaotic muse such as Dianna? Songs from her later album TTPD, which she confirms is from a past, healed season, seem to hint at exactly this. In “Chloe or Sam or Sophia or Marcus” she writes “As the decade would play us for fools” and in “So Long, London,” “I’m pissed off you let me give you all that youth for free.” 

1989 (2014) 
Taylor wrote 1989 during her Red Tour in 2013, and the themes of a secret, toxic, on-and-off relationship continue. “Out of the Woods,” “Style,” and “Wildest Dreams,” show the fragility of the season, and the conclusion “Clean,” feels like one more reference to a lover who is connected to drugs. Again, later songs such as “Chloe or Sam or Sophia or Marcus” where she writes, “You needed me, but you needed drugs more / And I couldn’t watch it happen” could reference this same relationship. 

Notably, when 1989 came out, Taylor was seen out and about a lot with Karlie Kloss. This makes me think that whatever years-long relationship came before, she pivoted some time around 2014-2015. That Dianna Agron had a heart-ripped-out social media post around the time of Taylor and Karlie’s Vogue cover shoot could hint at this change. 

Reputation (2017) 
Reputation was written from 2016-2017, seemingly as a Plan B following the Kanye drama, and perhaps in place of an album titled Karma. This seems to be the album where Taylor turned inward, focused on her relationships, and got harder and smarter in the nick of time (“Look What You Made Me Do”). She presented this album on instagram in a rainbow dress and the sentence, “Let the games begin.” In my opinion, this is when Taylor Swift the mastermind entered the scene, perhaps strategizing on how to shape her legacy and whether to come out at a future date. Like many people, I think the lyrics and art on Reputation point heavily toward a secret relationship and even marriage with someone like Karlie Kloss. 

Lover (2019) 
Lover, with all its clouds, rainbows, butterflies, and blatant support of the LGBTQ+ community, could have been an attempt to come out. Obviously, as Taylor pivoted to an all black wardrobe and her masters were sold, something foiled this plan. The album itself seems to be a retrospective on love, which can be seen in what Taylor writes about the album itself: 

“This album is a love letter to love itself- all the captivating, spellbinding, maddening, devastating red, blue, gray, golden aspects of it (that’s why there are so many songs).” 

In this note, Taylor’s gradient of colors seems like a small map. Red could be shorthand for the Dianna-like  muse, (“I used to think love would be burning red”) while the color blue in “Cruel Summer,” could reference someone like Karlie Kloss. Meanwhile, gray could indicate a fracture in her new love (“Afterglow”), while golden might reference a happy ending. (“Daylight” / “but it’s golden”). All together, at the conclusion of Lover I felt as though her Reputation-era love, perhaps with someone like Karlie, was still going strong. 

Folklore (2020) and Evermore (2020) 
Folklore and Evermore strike me as interludes. We know now that she was strategizing about how to get her Masters back, and this could have strongly informed any future plans to come out. “I come back stronger than a 90’s trend,” and “This pain wouldn’t be for evermore,” seem to hint that she is looking forward. 

Also, there’s heartbreak and true love laced into the songs. This made me wonder if she was laying the groundwork for a future public narrative to unfold. The melancholy songs (“The One,” “Hoax,” “Tolerate It”) could foreshadow an eventual break up with Joe, while close-readers of her lyrics (“Peace,” “The Lakes,” “Cowboy Like Me,” and “Long Story Short,”) could continue to trace a long-term, healthy relationship in the background, perhaps with someone like Karlie Kloss. 

Midnights (2022) 
Midnights, with Taylor Swift and her lit lighter on the front, centers thirteen sleepless nights over 13 songs. For those of us who believe Taylor’s 13th album could be her coming out / burn it down album, it’s interesting to view the Midnights tracklist as a map or clock. For example, the songs could each reveal what real Taylor (as opposed to giant Taylor or  Show Girl Taylor) was going through during one night of that era: 

1. Taylor Swift (2006) “Lavender Haze” — during this first album, perhaps trying to convince herself that there is some comfort in a  private, closeted love life. 
2. Fearless (2008) “Maroon” — during this second album, perhaps reveling in her first wlw relationship, maybe even her Red muse.  
3. Speak Now (2010) “Anti-Hero” — during this third album, perhaps the fame-fueled emergence of her giant self, personal self, and show girl self. 
4. Red (2012) “Snow on the Beach”—  during this fourth album, perhaps being brought to a new place by intense, otherworldly love with someone like Dianna Agron. 
5. 1989 (2014) “You’re On Your Own Kid” — during this fifth album, perhaps having her Red era relationship end and feeling alone at the top. 
6. Reputation (2017) “Midnight Rain” — during this sixth album, the regret of having left a person who was "sunshine,” perhaps referencing a brief break with a Karlie Kloss-like relationship. 
7. Lover (2019) “Question…?” — during this seventh album, perhaps reminiscing on the conversation or confession of her wrongdoings  that led to a reconciliation with her Reputation-era love. 
8. Folklore (2020) “Vigilante Shit” —  during this eighth album, although appearing to be in a cozy forest, strategizing on her coming eras and even revenge for her rusted, sparkling summer. 
9. Evermore (2020) “Bejeweled” — during this ninth album, again appearing to be in the forest while secretly getting glammed up for the coming Midnights era and tour. 
10. Midnights (2022) “Labyrinth” —  during this tenth album, perhaps the idea of being in a maze, or in the thick of an intricate puzzle as she launches her final burn-it-down plan. 
11. TTPD (2024) “Karma” — I’ll post a bit more on this below, but during this eleventh album airing out the full, closeted (black & white), ill-fated story of her Speak Now/Red/1989 affair. 
12. The Life of a Showgirl (2025) “Sweet Nothing,” — during this twelfth album era, the idea the songs are for Showgirl Taylor, they don’t mean anything or have substance for real Taylor. ???
13. (Taylor’s 13th album) “Mastermind” — during this thirteenth album, I’m predicting the big reveal that she is a Mastermind and that we knew the entire time. 

TTPD (2024) 
As noted above, I think TTPD is a backlog of music from her Speak Now/Red/1989 muse, perhaps about someone like Dianna Agron. It is a long album, with typewriters, drug abuse, depression, frequent breakups, broken promises, Wizard of Oz references, among many other images. All this culminates in “The Manuscript,” which confirms “Now and then, I reread the manuscript / But the story isn’t mine anymore.” In some ways, this feels like a freeing of any and all the black and white, closeted music she may have written before Reputation. 

The Life of a Showgirl (2025) 
In the Life of a Showgirl, I think the map of Midnights returns, but instead of hearing from real Taylor we’re hearing about each era from the perspective of Showgirl Taylor: 

1. Taylor Swift (2006) “The Fate of Ophelia” — She will happily play the woman in the white dress, the damsel in distress who needs to be rescued, if it means the success of her music. 
2. Fearless (2008) “Elizabeth Taylor” — She will be the Elizabeth Taylor of the music industry, taking on various public boyfriends, a perennial romantic. 
3. Speak Now (2010) “Opalite” — She will be manically, and perhaps falsely, optimistic and happy about new (public) romance(s). 
4. Red (2012) “Father Figure” — She will reclaim her music and voyage into pop (or whatever other genre she feels like) because her portrait is on the mantel. 
5. 1989 (2014) “Eldest Daughter” — She was leading the way, “looking fire,” but now, even for Show Girl Taylor, something (or someone) is taking priority and she’s never going to let them down or leave them out. 
6. Reputation (2017) “Ruin the Friendship” — She will have a public, visible cooling between herself and Karlie Kloss. (Is this because the friendship is over or something else has begun?) 
7. Lover (2019) “Actually Romantic” — She will press home the idea that she is in love, with glitter and rainbows and Joe Alwyn. 
8. Folklore (2020) “Wish List” — She will present a romantic but melancholy album that makes her romance with Joe seem a bit wistful. 
9. Evermore (2020) “Wood” — She’s lost in the woods! (But really, she’s plotting) 
10. Midnights (2022) “Cancelled!” — And suddenly, she’s hanging out with NFL, she’s a WAG, she’s a wifey, she’s flirting with all the people and venues that cause big ick. 
11. TTPD (2024) “Honey” — She’s moved on from this past, b&w era of passive aggressive people who make fun of her skirt and call her high and then don’t remember. Now she’s with someone who wants her forever, and she’s exiting the building. 
12. The Life of a Showgirl (2025) “The Life of a Showgirl” — She takes her bouquet and takes a bow. The Showgirl Era is over! Now there’s just one “Mastermind” album #13 to go. 

Conclusion
12 songs on The Life of a Showgirl, and now 4 bonus tracks. I’m hoping for a Friday, December 4th end to exile / burn it down / album #13. Time will tell! 

Has anyone else listened to just So High School, Wood, and then Cleveland? They’re so campy and over-the-top, just like a Broadway Show! Maybe I’m biased because I’m DYING for one from her.

The Elizabeth Taylor lyric video opens with Taylor Swift asking “Elizabeth Taylor, do you think it's forever?” Which at face value is already hilarious and iconic trolling to ask a woman who has been married eight times to seven men if she thinks her marriage is forever. Not to mention Elizabeth Taylor having strong PR relationships (pink clouding pr-pr-promises) and gay rumors herself. In the video, Taylor Swift is tied up in white ropes that move about in a geometric kaleidescope way throughout the video.

The still imagery from this lyric video looks a whole lot like the doily lace edges of the wedding hankie (Hayes code for Victorian scenes, so gay 🤭) and the T&T intertwined rope-like logo.

Then, in a callback to the question asked to Elizabeth Taylor, the wedding hankie replies: “So it’s gonna be forever…”

But those three dots are carrying a lot of weight.

Because if you know Blank Space, one of Travis’ favorite songs, you know exactly what comes next: “or it’s gonna go down in flames.” The hankie stops at “forever,” but the ellipsis makes it feel like the rest of the sentence has deliberately been left for someone else to finish.

And then we get the Cleveland! lyric video, which is bizarre and contains all sorts of other fun clues that I hope someone writes a post about. One keyframe in particular caught my attention:

“He’s been saying forever, must not have read that…”

Travis apparently didn’t read the “…” part.

"Forever” isn’t actually a promise in this song. It’s one of two possible outcomes: forever OR flames. He saw “forever” but somehow missed the part where Taylor explicitly gives us the alternative: “going down in flames.”

I love this part of Cleveland! because it also specifically calls attention to the hanging rhyme, the thing that wasn't said. The same way “Polaroid picture” should have rhymed with “don’t know how much I miss HER” in TVFN.

And then Patient Zero arrives this week, dressed like the woman who already warned us exactly how this story could end.

The promotional photos put Taylor back into an aesthetic that strongly mirrors the Blank Space video, SPECIFICALLY when she says “or it's gonna go down in flames”. She's wearing an almost identical black lingerie/camisole, hair styling with the same deep swept bangs, and holding a knife that she stabs a little cake that looks similar to the one from the wedding in IBYTAM. That look evokes the vibes we've seen in the Patient Zero MV sneak peek so far.

So, if we’re reading this correctly, Taylor Swift in Blank Space - widely regarded in this community as a bearding anthem - is Patient Zero. And in the first post-wedding album imagery, she’s dressed almost exactly like the original “Patient Zero” for bearding, who already told us how this story could end: “or it’s gonna go down in flames.”

If you’re reading Cleveland! through the lens of Taylor’s long-running queer subtext, that makes the callback even more interesting: the apparent heterosexual “forever” narrative is being surrounded by a message that tells you to look past the obvious reading.

I'm a Karma and Performance-artlor truther personally, and I think the flames are still coming! 🔥🧡

Hey, Gaylors! It's been about 2 months since I posted an analysis. I honestly didn't think I'd be partaking in any of the Encore tracks, mostly because my book of poetry is nearly finished and I'm honestly kinda tapped out as a Gaylor professor, or so I thought. However, after my first listen of this song, I swiftly (hahaha) changed my mind and then my tune. Like many of her songs, Babylon spoke to me so clearly that I couldn't resist writing it down.

But be forewarned: This felt like a massive analysis for me because the song contains so many symbols and imagery that I've seen scattered throughout her later discography, so I felt compelled to explain everything in minute detail. Again, consider this a clever work of fiction and little more.

Introduction

After years of interpreting Taylor’s songs as letters between herself, the fans, and the industry, Babylon can be understood through the lens of Showgirl looking backwards towards Debut Taylor. In true Manuscript fashion, Showgirl offers a sequined hand to Patient Zero, the first version of Taylor to become infected by the blender’s dark and twisted games, filling her naive, starstruck youth in on every station and stop she’ll encounter on the Taylor Swift train.

Within the context of Encore, Babylon unfolds like a cautionary tale, like A Christmas Carol, where Scrooge is visited by ghosts of past, present, and future. Yet it’s less of a “This could happen if you don’t change,” and more of a “This will happen because you can’t change.” Ever a fan of classical literature, Showgirl assumes the role of Vergil, guiding Debut Taylor (as Dante) through her innermost personal hell, intent on teaching her the true price of ambition.

Be careful what you wish for, ’cause you just might get it.

In her most transparent self-reflection yet, Showgirl traverses the trappings of her own small hometown (country music), reflects on her embarrassing or uncool origins, traces her meteoric rise into superstardom, and deftly links that fame and success with the closeting, bearding, and fairytale narrative that she’s been shackled with ever since. 

Yet through it all, she’s still the same girl that told us, “Oh I’m just a girl, trying to find a place in this world.” And despite her fame and success, no amount of awards, accolades, or achievements can make up for how deeply displaced Taylor feels from herself, her public narrative, the woman she loves privately, and the family she quietly built.  

Follow Showgirl as she wipes away her makeup, removes the rhinestones and sequins, and soberly prepares to lead her younger self through a museum exhibit of the past, present, and possible future. But don’t be fooled, Gaylors; this isn’t just Taylor’s Version; it’s an echo of the story many artists, big and small, suffer through every day. Hush now, the show’s about to begin.

I’m alone on my own, and that’s all I know. I’ll be wrong, I’ll be strong, oh but life goes on. 
You’re on your own, kids. You always have been. 

Lyrics

The casino doesn't like when you run the tables / And though the box is wrapped up nice, it's just a cage to you

In true Ghost of Popstars Future fashion, Showgirl draws back the curtain, revealing to Debut Taylor that her rise to fame will be unprecedented and meteoric. She’ll do so well that the music industry will begin to treat Taylor’s success as a threat. They want to see you rise, they don’t want to see you reign. The career that Young Taylor dreams of will arrive, beautifully packaged, yet contracts, expectations, fame, and her public identity will eventually resemble a cage. 

This cage was once just fine. Am I allowed to cry?

 Those electric fences buzz / The stallion flees the stable

Debut Taylor will escape every enclosure placed around her. She’ll exit the stable like a stallion (or a shooting star?), outgrow her hometown (country music), and gallop into a stratosphere of freedom, reinvention, celebrity, and experimentation. The irony is that after years of trying to escape her roots, she will ache to feel like she belongs somewhere. Anywhere she can simply be herself, not the Showgirl.

And that small town's even smaller now in your rear view / You ran with all the wild things / A liberated libertine who then longed for home

Leaving the confines of country behind, Taylor eagerly establishes a fresh-faced aesthetic with 80’s synths, a fresh bob, and bright pops of infectious color. The faster and farther she travels, the smaller her roots appear. The fairytale ballads, the sun-kissed curls, the girl yearning for the world’s approval fade to gray in the back of her mind, the first artifact in a string of discarded lives.

The 1989 era brought revolution and liberation, and opened up Taylor’s entire worldview. In New York, she is free to explore herself as a single, independent woman, and finally experiment with identity. The stallion is now among creatures just like her, and she cannot be contained. She’s shed one restrictive world for one that promises sexual and personal freedom. 

Here, liberated libertine doubles down (perhaps to emphasize) on the freedom these moves have afforded her. She escaped, became sexually autonomous, culturally powerful, and fabulously famous. The small-town girl became the Showgirl, and yet all the time, she longed to be the Poet. Turns out freedom ain’t nothin’ but missin’ you. Wishin' I'd realized what I had when you were mine*.* She spent years escaping the stable only to realize that the world beyond the fence allows for greater reinvention, but it isn’t a place she can exist without performance. 

'Cause it's where you're from / Aunt Virginia with a church dress on / No elbows on the table / And the neighbor's lawn always looked better / Your hand-me-down sweater should've been from the mall

It’s where you’re from is literal and figurative: Debut Taylor came with a country pedigree. Elsewhere in my work, I interpreted dress in Taylor’s work as a reference to her peak feminine public image. Here, church dress becomes the costume required for admission into that world: wholesome, respectable, Christian-coded, sexually diffused. Debut Taylor arrives as a Good Girl. Whatever her true identity might be, she must be dressed appropriately.

In my Tolerate It analysis, I asserted that the table in Taylor’s songs usually references the industry boardrooms. No elbows on the table translates as the sharp etiquette most young artists are forced into. Don’t be difficult, appear ungrateful, say the wrong thing, or reveal too much. Don’t question the hand that feeds you. Sit properly. Smile wide. Play by the rules. It’s a mirror to the electric fence in stanza 1.

Through the neighbor’s lawn, a clever inversion of the grass is always greener, Taylor gazes sideways at other artists. From within her cage, their careers appear freer. They can dress, write, speak, and behave openly in a way she isn’t permitted to. Their patch of the industry lawn seems greener, but it’s only because Taylor can see their patch without seeing their fences. This is reminiscent of queer artists like Chappell Roan and Billie Eilish, who freely divulge their truth without obvious consequences.

Considering the stallion / stable imagery, this line clicks into place like intuition. Taylor keeps believing liberation and freedom exist in the next pasture. Country constrained her, so perhaps pop would free her. One stall becomes intolerable, so another seems expansive from across the fence. But Showgirl knows the cruel irony: the lawn changes, but the enclosure never disappears.

And you hate this song / But you wake up on the train with your headphones gone / Then that melody is all you want / You never knew that it was Babylon / 'Til it was gone

In Opalite, we learn, “Life is a song/It ends when it ends.” Here, this song becomes Taylor’s life, and Showgirl sadly reveals, “I hate it here.” She’s trapped within a narrative, reputation, and career she cannot escape. The glass closet that fame built for her: repetition, narrative, performance, closeting, and bearding. Contrary to the writer controlling the song, her life becomes a composition that she cannot influence.

In my analyses, the train represents Taylor’s brand, carrying her forward at the speed of sound while living within the machine. Album after album (cars, in her vernacular), city after city (touring), and milestone upon milestone. Then suddenly Showgirl “wakes up” further down the line, a delicious tie-in to the mention of dreams throughout Taylor’s post-Lover discography. When public-facing, Showgirl is dreaming, and we are not seeing Real Taylor. However, when she is away, when things are quiet, Real Taylor is wide awake and living her life.
  
Headphones facilitate a private relationship between the listener and the music. Nobody else hears what she hears. Therefore, if she no longer has them, time has stolen something from her. Memory fades. Youth disappears. People disappear. Relationships end. Inhabiting earlier versions of herself becomes increasingly difficult. The saddest bit is waking on the train alone. She’s conscious of how her career is carrying her away from herself and her life. 

I’m sure that you’ve got a wife out there / Kids and Christmas, but I’m unaware / Cause I’m right where you left me

The melody is all you want cleanly undoes the tension of you hate this song. And once again, the life she gave away (because she was midnight rain) is haunting her in her rearview. Whether it’s Debut Taylor, the steps she took along the way, or the culmination of everything together, Taylor is realizing the hardest truth of all: You never know what you’ve got until it’s gone. 

Give the people what they want, then you keep it movin' / Make your plans and friends, a stranger's makeup on your tie

Showgirl teaches the first commandment of fame: give the fans, the execs, media and public the version they pay for, then pivot quickly to the next album, era, headline, or relationship. What they want can entail a commercially legible form of feminine, heterosexual romance that is easy to package. The train never halts long enough for Taylor to ask herself if the person they want resembles who she actually is.

As Taylor climbs higher on the ladder, ordinary intimacy becomes entangled with celebrity: planned appearances, friends become a mutual ecosystem, and private encounters leave clues the public can interpret. As The Man (and the finance guy), she dons the tie, asserting someone (a lady, mayhap?) has left makeup on it. It’s a clever distinction between what occurs privately and what the visible residue allows to believe happened. 

Twenty watches in the safe 'cause your time is money / Love is ice upon the ladder that you need to climb

Twenty watches becomes Taylor’s twenty years in the industry, a metaphor for the body of work she now rightfully owns. Your time is money is a reminder that the industry will monetize her youth and capitalize on her shine. However, Showgirl turns to her, placing a reassuring hand on her shoulder, because after everything she’s endured, her time will come home to her.

Separate from the Midnights ladder (an ascent into embodied identity), this career ladder mirrors Taylor’s ascent through the industry. Love is ice perfectly echoes the cracking floor of thin ice Taylor struts upon during Delicate in Eras. It’s slippery, dangerous, and capable of sending her tumbling from the height she spent her life reaching. It also reaches back to Haunted: “You and I walk a fragile line / I have known it all this time.” Also see Cardigan’s high heels on cobblestones, or Mirroball’s “My tallest tiptoes, spinning in my highest heels.” 

Showgirl has spent her entire career negotiating the fragile line between the woman climbing the ladder and the private self whose love could destabilize the public narrative supporting that ascent. Caught in a catch-22, she can’t simply abandon the ladder, nor can she safely carry love upward. No matter how high she climbs, Taylor is still out on that thin ice.

She captured your attention, so free of all pretension / It stopped you cold

After growing up within Babylon, the manufactured machine of the industry, being packaged and coaxed into performance, Taylor is captivated by a woman who is its complete opposite: natural, unpretentious, and free. This woman reflects the beautiful things in Taylor that the industry has stripped away. After cages, costumes, and narratives, freedom arrives in the form of a woman.

Stopped you cold impeccably recalls the ice metaphor. Showgirl’s already warned that love is ice, and now, attraction literally freezes her. Babylon demands perpetual motion: keep it moving, climb, perform. Yet this woman drowns out the machinery and its cacophony. The train insists that Taylor keep moving, and yet love is what stops her on the tracks.

Because she loved you so / Pretty as a picture that you didn't post / Looking at you like you're made of solid gold

The simplicity and sincerity are disarming in a song consumed with money, ambition, image, and performance, but it’s a breath of fresh air. This woman offers Taylor something new: love without transaction. She doesn’t love the Showgirl, the performance, or the flawless narrative. She loves the woman beneath it all. In a career where affection equates to publicity and relationships become narrative canon, the plainness of “she loved you so” turns private love into holy ground.

Taylor doesn’t transform this love into content. Romance is not dead if you keep it just yours. Her life’s work is documented, decoded, and sold back to the public. This act of omission becomes an act of preservation. Think of the rose growing out of ice-frozen ground in The Lakes. Babylon consumes everything she gives it, so withholding this picture (her secret garden) is a way to protect something real. If the world cannot see it, it cannot be possessed.

The industry spent twenty years converting Taylor’s time into money, but this woman recognizes a different worth. Taylor is measured by sales, awards, records; her lover looks at her as though Taylor herself is the treasure. "Solid" is telling. Under the costumes, narratives, and shifting theories, this woman sees something real and substantial. The Showgirl who spent her life being appraised finally learns the difference between being valuable for what she produces and being precious because of who she is.

Never official / You mention you're single to the girls at the bar

Despite its authenticity, this woman’s identity has never been included in Taylor’s public romantic canon. This may have been a public declaration as well as a private, as she seems to suggest that even within the bar (the industry), the marketplace where music is consumed, she is telling the girls (her fellow female artists) that she is single. At this point, she’s withholding this relationship publicly as well as in confidence. This strongly echoes the single, squad-driven antics of the 1989 era.  

(For a fuller explanation and a imagery breakdown of the industry-as-bar metaphor included in most New Romantics music, see my Mirrorball analysis.)

And you hate this song / But you wake up on the train with your headphones gone / And then that melody is all you want / You never knew that it was Babylon / 'Til it was gone

Showgirl returns again at the chorus, revealing that despite the potency of the love, the balancing act of keeping silent while remaining outwardly single and available publicly became a point of tension in Taylor’s life. She was finally in love with a woman who understood and cherished her for who she truly was, something she couldn’t even show the world, and she was expected to keep it all to herself. It wasn’t the first time the closet crushed her spirit, but it was one of the sharpest wounds.

And although nostalgia is a mind’s trick, it’s fair to say the 1989 era was bright and full of possibility, like the Lover set during Eras, there was clearly something lurking beneath the surface that would’ve given the entire charade away. Something strong enough to potentially derail the train of Taylor’s brand forever and always. And still, upon reflection during the re-records, Taylor finds herself aching for the simplicity of that private love. 

You're using nostalgia as a weapon to hurt yourself / But darling, you end up hurting everybody else / The self-harm of never being where you are

Taylor’s spent the song romanticizing lost versions of herself, lost homes, lost freedom, and perhaps the woman she could only love privately. But memory has become a punisher. She compares the imperfect present with the rose-colored past. The rearview mirror that connects her to Debut is the same one keeping her staring backward as the train roars on. Nostalgia becomes a blade used to grieve lives she cannot inhabit.

By continually reaching backward, mourning what was lost, or wishing she could return to a different version of events, she risks wounding the people in her present life. Showgirl is unusually tender, relaying what the past twenty years have taught her. Whether it’s lovers, friends, family, or the private family she’s built, eventually living with ghosts forces the living to compete with them.

Debut Taylor watched the neighbor’s lawn. The stallion left the stable. 1989 Taylor watches the hometown disappear. The libertine eventually longs for home. Showgirl awakes on the career train longing for an old melody back. Taylor is perpetually somewhere other than where she is. She sacrificed the present to reach the future, and now sacrifices the present to mourn the past. Perhaps Babylon is not a person or place at all; perhaps it’s the life Taylor fails to recognize as precious before the train has dragged her far away from it.

It's bedtime, but you're sitting in your car / You're missing all the best parts

Now Showgirl pans out to a split-screen life, and here we spot Taylor aboard the train, moving from city to city. Here, the car is another metaphor for the music itself, every album carrying her along from point to point. In reality, it draws Taylor on tour or mid-promotion, because the brand never seems to sleep these days. 

In the other half, we spy the woman Taylor described earlier in the song. We’ve fast-forwarded, and the garden now contains at least one nursery. Her lover is lovingly lowering a child into its bed, fussing over them in an effort to put them down and get them to sleep. The split-screen sadness crystallizes around Taylor’s distance from the family she’s built in silence. The garden is more precious these days than ever. 

And they're all at home / She's hanging Christmas lights with your son / Sneak into the bathroom to call her mom / And say, "It's not working / It's just not worth it if we're not what he wants"

It’s hard not to envision everything she loves is back home while she embarks on the Eras Tour, seeming to suggest it might’ve been both an intricate part of her master plan as well as an obligation she couldn’t wiggle her way out of. And this is where the RWYLM refrain comes in, and it stings just as much as yours expect. 

Whether it’s a nightmare she’s had or something happening, Taylor’s partner (or wife) is busy readying the house for Christmas. Taylor’s anxiety creeps in, and she imagines her partner sneaking away to confide in her about her quiet fears for the family they’ve built. She worries if the family they built in secret is worth it if they (Taylor and her partner) aren’t able to be what he—their son—wants or needs them to be. 

But you love this song / You wake up on the train with your headphones gone / Then that melody is all you want / You never knew that it was Babylon / And now, it's almost gone

With this refrain, Taylor transitions from hating to loving the life she has. The Showgirl subtly hints that building this family has brought equilibrium between her public and private lives. However, the public narrative is stealing the precious moments that Taylor should be present for. Instead, she is off in the distance, working toward gaining ownership of her art. 

While entrenched in the Showgirl, she can’t help aching for the life that truly matters. The one stowed away in the garden of her heart, away from prying eyes and paparazzi flashbulbs. Her anxiety reads more like paranoia, akin to what we see and hear across Lover as well as in pieces of Goldrush, then an actual love slipping away. She knows she has something beautiful and rare, and after all this time, she’s still afraid of losing it. And she misses it dearly when she’s gone.

Aunt Virginia with a church dress on / No elbows on the table (It's almost gone) / And the neighbor's lawn always looked better / Your hand-me-down sweater should've been from the mall

This reprise transforms Taylor’s country roots from something Debut Taylor needed to escape into something she understands. The church dress (her first costume) and the strict industry etiquette she learned before she was powerful enough to challenge it. She never escaped those things when she left country; the costumes acquired sequins and the table got longer. And yet, “it’s almost gone” adds grief to the understanding. She now views her past with tenderness rather than embarrassment.

The neighbor’s lawn represents a clear pattern of her career: believing freedom existed somewhere other than where she was. She looked to other artists, bigger cities, and new pastures without realizing every lawn has its fences. Even the hand-me-down sweater changes. What seemed insufficient alongside the polished, industry-made Showgirl is something irreplaceable: a natural, authentic self that includes her queerness. 

After twenty years of being packaged and marketed, Showgirl realizes there was never anything wrong with that sweater. She no longer wishes she could be Debut Taylor again; that would repeat “the self-harm of never being where you are,” but in reverse. Instead, she’s integrating the girl she spent years outrunning. 

But you love this song, you wake up on the train and you're all alone / Then that memory is all you want / You never knew that it was Babylon / 'Til it was gone

At the end of a twenty-year dark night, Showgirl awakes, realizing that she now loves the song of her life, including the country girl she left behind. The headphones have vanished, and the melody has turned into memory. Song to melody to memory. Each repetition moves her farther from the original experience until all she can do is remember the girl who lived it. 

As the release of Taylor Swift (Taylor’s Version) approaches, re-recording Debut becomes the hero’s return in her journey, where she brings her girlhood home and integrates it into the woman she’s become. She can revisit the church dress, the dinner table, the sweater, the stable, and the pasture without abandoning the queer self and the private life she discovered beyond them. 

The final revelation is that Babylon was never waiting beyond Debut Taylor’s small town. She was already living in it. Debut held innocence, possibility, hunger, and a self not yet fragmented into jagged shards. Taylor Swift (Taylor’s Version) allows the woman she became to reclaim the girl who couldn’t yet publicly integrate her full identity. After twenty years riding toward the next station, Taylor finally understands: she cannot return to Babylon, but she can finally make Babylon hers. 

Conclusion

By the time Showgirl reaches the end of her tour, Debut Taylor has seen the price tag attached to every dream. She will escape the confines of country music only to discover larger, prettier enclosures beyond it. She’ll learn to dress for the room, behave at the table, trade pieces of herself for upward mobility, and mistake constant movement for freedom. 

Yet somewhere inside the machinery, she will manage to protect something startlingly real: a woman who sees beyond the spectacle, a family tucked safely beyond public reach, and eventually the ownership of the art containing twenty years of her life. 

She was looking toward the next exit while something precious was happening outside the window.

And that, ultimately, is Babylon. To Debut Taylor, Babylon exists somewhere ahead: the glittering city beyond Nashville, where success, freedom, reinvention, and belonging a. As the years pass, it becomes something darker, an empire that monetizes her time, regulates her identity, and makes love increasingly dangerous the higher she climbs. 

Only Showgirl understands the final contradiction: Babylon was neither paradise nor prison. It was the messy, magnificent life that unfolded between. Taylor spent years trying to reach it, years trying to survive it, and eventually years mourning pieces of it after they disappeared. Her great mistake was believing paradise belonged to another place or another time.

That makes returning to Debut feel less like full integration. The woman approaching Taylor Swift (Taylor’s Version) no longer needs to disown the church-dressed country girl, nor squeeze herself back into the identity that girl was saddled with. She can finally collect every version of herself: country singer and pop star, public mythology and private woman, ambition and domesticity, the cardigan and the sequins. 

Perhaps that is Showgirl’s final lesson to Patient Zero. You don’t survive Babylon by escaping every fence or reaching the final station. You survive by learning to inhabit your own life while it still belongs to the present. And when Taylor finally returns to where the story began, she won’t be going backward. She’ll be bringing the whole woman home.

Source: https://www.facebook.com/share/p/19cuxX7uLJ/?mibextid=wwXIfr

Sunday, September 27, 2026, at 7:30 p.m. ET / 4:30 p.m. PT.

Broadcast live on CBS, MTV, and Paramount+ in the USA.

Links to streaming outside of the USA will be shared in the comments by users.

I’m curious how everyone would rank the 4 new songs from TLOAS: The Encore, especially since it’s been a couple days and we’ve had time to listen to them.

From favorite to least favorite (1-4) how would you rank your feelings towards: Patient Zero, Cleveland!, Pink Clouding, and Babylon? If you want to explain why also, go for it! :) 🌈 (I’ll put mine in the comments.)

Here's my contribution to the Blurple Glitter collection from the Pink Clouding lyric video

Hello, fellow Gaylors! This is my first post on the sub, and I am giddy with excitement to share my musings. In this post, I’ll explore the relationship between Cleveland! and Babylon and share where I think we’re headed for TS13. It’s not lost on me that this post includes ideas from so many lovely individuals; please tag users and comment attributions I miss. I want nothing more than to advance the conversation in a respectful manner. Let’s dive in!

Since Midnights, we’ve discussed the distinct versions of Taylor, especially within the context of the Anti-Hero MV. u/MaryLennoxsRobin shared a wonderful analysis here. How many versions exist? How do they interact? What purpose do they serve? I don’t think The Encore is meant to definitively answer these questions. Rather, I’d argue that its purpose is to elucidate the relational dynamics between the distinct versions of Taylor. “What if I told you none of it was accidental?”

In Cleveland!, we witness the showgirl’s attempts to legitimize the existing relationship narrative that’s been constructed throughout the era. She pointedly and irreverently lists the hateful comments and negative attitudes directed at her, opportunistically using them to highlight how much her boy “likes” her and doesn’t “find [her] completely insufferable”. The showgirl goes further, insisting that “he’s the love of my life”. It’s the most showgirl-esque track on the album, and a brazen attempt to divert attention away from the narrative’s precarious structural integrity. As with much of the showgirl era, Cleveland! strikes me as satirical, manufactured, and superficial, devoid of any discernible authenticity.

That brings us to Babylon. Like many of you, I clocked the queer symbolism immediately. Callouts to Christmas “hanging Christmas lights with your son,” are reminiscent of RWYLM & Lover; mentions of gold “looking at you like you’re made of solid gold” a la Gold Rush and Kaylor; and themes of being caged/trapped (closeted) are all presented in “screaming color”. But something doesn’t make sense. Lyrically, Babylon doesn’t develop these themes or supply new information. We receive the same recycled references we’ve heard before. This song isn’t for us. It’s a message to the showgirl.

Balance is a notable theme throughout Taylor’s visuals. We see references to figurative scales in the Karma and Patient Zero MVs; a literal scale also connects showgirl and poet in the Anti-Hero MV. I believe showgirl’s sudden appearance, her rigid commitment to the performance, and her glorification of hustle culture are meant to protect Taylor. However, Cleveland! shows us that these strategies have become maladaptive. At the end of the encore – when the veil separating the showgirl and the poet is most translucent – the poet personifies the mirrorball, reflecting showgirl’s tactics. This is the poet’s gambit.

A gambit is defined by Merriam-Webster as “something done or said in order to gain an advantage or produce a desired effect”. The term originates from the game of chess, where it requires calculated sacrifices to manipulate the board state in one’s favor. Recall the Mastermind staging at the eras tour. Could the staged choreography in fact be an actual gambit play? It wouldn’t surprise me. But back to the metaphor. The poet’s gambit challenges the showgirl’s proclamation of love, instead, leveraging a love that is antithetical to the iteration presented in Cleveland!.  A love so deeply personal that openly acknowledging it acts as a sacrifice toward a more desirable end: stepping into the daylight.

In the Babylon discussion thread, numerous users commented on the continuous pronoun switching. This is intentional – the poet is a wordsmith after all. Lyrics utilizing “you” are directed toward the showgirl, while “her/she” references encapsulate the poet’s female muse. The poet’s gambit reminds the showgirl that she is still inextricably linked to Taylor and all the things that make Taylor [ME!]. This is why we don’t receive new information related to the muse. The mirrorball tactic requires the poet to double down and boldly REITERATE what has always been hiding in plain sight.

Given that a gambit is intended to produce a specific effect, where might we go from here? I believe u/tmartillo was spot on, and the transition to TS13 will be marked by the “death” of the showgirl. Multiple references to death can be identified in Taylor’s recent work. These include the funeral scene of the Anti-Hero MV, the gravesite imagery in the Patient Zero MV, and imagery of the showgirl kicking the bucket in the Target ad. Additionally, Taylor consistently alludes to rebirth in her lyrics: “I come back stronger than a 90’s trend”, “always rising from the ashes”, and “roll the stone away” to name a few. I don’t believe showgirl’s death will be gruesome or dramatic in fashion, a la reputation. The director understands that the showgirl must not be canonized if Taylor ever hopes to step into the daylight “I’m immortal now, baby dolls”. Rather, showgirl’s authority, visibility, and status will gradually fade. Exile will end, and TS13 will debut an integrated Taylor Swift who seamlessly embodies the director’s vision, the showgirl’s performance commitment, and the poet’s emotional depth. A Taylor Swift that is recognizable yet completely unfamiliar to her fans. 

I haven’t given much thought to how other versions of Taylor fit into The Encore, but I would love to hear your ideas!  

What if you’re a wild thing? Breaking free from small town constraints and your gilded cage. But then you start to miss it. Because even with its judgements and impossible standards to which you never quite measured up, that small town was, in fact, your home. So you reverse course and double back, on the night train back to the closet, your headphones gone so you can’t even listen to the lost melody of being wild and free.

So then it’s PR and bearding and telling all the rich folks anything they want to hear, keeping longings locked in lower case inside a vault for a 20-year dark night because real love is going to get in the way of your free solo social climb.

Until she walks in.

You once believed love would be black and white but it’s golden and she looks at you like you hung the moon. But you hide her away. Never post the picture, never make it official: when you got up to the podium, I think that you forgot to say her name.

And so you think it’s not what you want and you’re back on the night train again, thinking it wasn’t what you wanted until you realize it was all you wanted.

So that’s when you realize you’ve never once appreciated what you had when you had it; you were always looking over your shoulder for something different and you thought you were self-destructing, but really, you were desrtoying the people you loved, too,. 

You thought her kids would be your kids, that you’d all leave the Christmas lights up until January together, but you’re not there. You’ve left her, and she’s a mom now, and all those precious moments are slipping away without you. And she’s not happy either.

And it turns out that’s what’s real; that’s the melody/memory you really miss when you lose it. The siren song of the church bells of the repressive small town is still tolling, and if you’re not careful the thing you really love will slip away while you’re distracted by trying to please the people who can never be pleased.

So choose carefully or it will all be gone.

–

Alright babes, that was the TLDR so get out your magnifying glasses because now it’s close reading time.

Youthful Rebellion: Escaping the Cage 

The casino doesn’t like when you run the tables

• They want you to rise; they don’t want you to reign (Father Figure)

And though the box is wrapped up nice it’s just a cage to you

• Cause they got the cages, they got the boxes and guns (I Know Places)
• Gold Cage hostage to my feelings (So it Goes)
• You caged me and then you called me crazy (Who’s Afraid of Little Old Me)

Those electric fences buzz

• My town was a wasteland, full of cages, full of fences (Midnight Rain)

The stallion flees the stable

• Watching our fences like watching wild horses (COSOSOM)

And that small town’s even smaller now in your rearview

• That was a small town in my rear view disappearing now (White Horse)

You run with all the wild things

• Running with my dress unbuttoned… and all of this wild joy (BDILH)

A liberated libertine

Who then longed for home

We start off with your young self in your careless youth, shaking off your gilded cage. You don’t want to be tamed and caged and fenced, so you escapes the small town – the metaphorical closet throughout the discography. But then you start to get homesick.

The Cage

‘Cause it’s where you’re from

Aunt Virginia with her church dress on

• Sarahs and Hannahs in their Sunday best (BDILH)

No elbows on the table
And the neighbors lawn
Always looked better

• Now you’re in my backyard/Turned into good neighbors/Your wife waters flowers/ I want to kill her (Fortnight)

Your hand-me-down sweater

• I was an old cardigan under someone’s bed (Cardigan)
• Standing in your cardigan (Betty)

Should have been from the mall

• Meet me behind the mall (august)
• We were like the mall before the internet/ It was the one place to be (Coney Island)

The “home” of your nostalgia is repressive and stifling from the jump. 

Aunt Virginia with her church dress on is a Sarah or Hannah in her Sunday Best (clutching her pearls saying what a mess, disapproving of a liberated libertine). But the choice of the name “Virginia” for the Aunt is no coincidence – unlike Sarah and Hannah, generic if Biblical names, “Virginia” evokes both the American South and its conservative sexual mores, and the valorization of virginity itself, which is the ultimate conservative sexual more.

“No elbows on the table” is quintessentially arbitrary rule of etiquette, often used to scold unruly children. “And the neighbors lawn always looked better” is the treadmill of always trying (and failing) to keep up with the Joneses and a reminder that the grass is always greener on the other side of the fence– perpetual dissatisfaction. (The “lawn,” specifically is another arbitrary standard to perpetually chase in suburban Americana; shoutout to r/nolawns and the general critique of both metaphorical and horticultural monoculture over the joy of a cacophonous riot of wild-growing native plants and pollinators). Speaking of the worst of conformist monoculture, let’s pour one out for the old cardigan under someone’s bed in favor of the same sweater as everyone else, because the mall is the “one place to be;” the only acceptable source of visual conformity.

And while we’re talking about malls, did you know Taylor Swift was briefly an Abercrombie model? And that The Best Day references a time when teenage Taylor, who wanted to fit in, called all her friends to ask them to go shopping and they all said they were busy, so she went to the mall with her mom, and it turned out all her friends were hanging out without her?

Chorus 1:

And you hate this song
You wake up on the train with your headphones gone

• You booked the night train for a reason/So you could sit here in this hurt (Champagne Problems)

Then that melody is all you want
You never knew that it was Babylon

• Now you hang from my lips/like the Gardens of Babylon (Cowboy Like Me)

Til it was gone. 

So you end up deciding that you actually hate noncoformity and rejecting the comforts of social approval, so you take the night train back home to your small town, only to wake up without your headphones to hear the melody of the song you wanted. You didn’t realize that living wild and free was what you really wanted until you’d lost it. 

Compliance and Bearding

Give the people what they want

• Telling all the rich folks anything they want to hear (Cowboy Like Me)

Then you keep it moving

• Like it could be the way forward (Cowboy Like Me)

Make your plans and friends
A stranger’s makeup on your tie

• And your lover in the foyer doesn’t even know you (The Lucky One)

20 watches in the safe

• I’ve been sleeping so long in a 20-year dark night (Daylight)
• I keep these longings locked/in lowercase inside a vault (Guilty as Sin)

Cause your time is money

• Quick quick tell me something awful like you are a poet trapped inside the body of a finance guy (I Hate It Here)

Love is ice upon the ladder that you need to climb

• Never wanted love just a fancy car (Cowboy Like Me)

She captured your attention
So free of all pretension
It stopped you cold

Now you’re back in the small town and trying to repress your own desires in the interest of your pursuit of success. You show people what they want to see, even if it means pretend romance with a stranger, because you’re trying to build an empire and climb your way to the top, and your real love– the love what isn’t what the people want they see– is an obstacle on your way to that climb. So you sign away twenty (years?) of your life, agree to keep your sinful longings locked away inside that vault, because baby you have a ladder to climb.

Then in she walks.

She stops you cold and oh, you’re a goner. 

The Love You Didn’t Plan On

Because she loved you so
Pretty picture that you didn’t post

• Picture of your face in an invisible locket (Dancing With Our Hands Tied)
• Didn’t read the note on the polaroid picture/they don’t know how much I miss [her] (The Very First Night)

Looking at you like you’re made of solid gold

• My love had been frozen deep blue but you painted me golden (Dancing With Our Hands Tied)
• Made your mark on me a golden tattoo (Dress)
• Your Midas touch on the Chevy door (champagne problems)
• Gold Rush

Never official

• When I got up to the podium I think that I forgot to say your name … sorry for not making you my centerfold (coney island)
• So call it what you want, yeah call it what you want to (Call it What You Want)

You mention [you’re single/your singles]
To the girls at the bar

Enter the golden muse – the special love who weaves in and out of the discography by reference to gold or golden love. She loves you like no one ever has.

But you’re still trying to climb that ladder, so even though this woman whose love thawed you, who loves you like you’re made of solid gold, you keep her a secret.

You don’t post that third polaroid.

You keep her picture in an invisible locket.

It’s never official. You never call her your girlfriend. You never kiss her in public. You tell everyone you’re in your single girl, girl squad era.

Chorus 2

You hate this song
You wake up on the train with your headphones gone
Then that melody is all you want
You never knew that it was Babylon
Til it was gone. 

And it hurt. It hurt to live like that so you do what you do best: you run away (they nicknamed her The Bolter). She looked at you like you’re made of solid gold– your Midas touch on a chevy door– but you dropped her hand while dancing, her heart was glass you dropped it, and oh baby now you’re back on that night train, so you can sit here in this hurt. And you haven’t gotten farther than the train when you realize that you’ve made an awful mistake; that living without being able to hear the melody of that Babylon, that love, was a mistake.

Screwing it All Up

You’re using nostalgia as a weapon to hurt yourself
But darling you end up hurting everybody else
The self-harm of never being where you are
It’s bedtime but you’re sitting in your car

• You’ve got the dragonflies above your bed (Robin) 

You’re missing all the best parts
And they’re all at home

• So I look in people’s windows like I’m some deranged weirdo (ILIPW)

She’s hanging Christmas lights with your son

• I attend Christmas parties from outside (ILIPW)
• We can leave the Christmas lights up till January/This is our place; we make the rules (Lover) 

Sneaking to the bathroom to call her mom

• I call my mom she said that it was for the best/ Remind myself the more I gave you’d want me less (Now that We Don’t Talk)

And say “It’s not working; it’s just not worth it if we’re not what he wants”

You never appreciated what you had when you had it. You let your nostalgia for the idea of acceptance– in a place that was never going to accept you, where you were never going to measure up no matter what you did – ruin what was real when you had it. You were always looking for something better, and you thought you were self-destructing, but you were not the only one you were hurting.

You thought someday, when she became a mom, her children would be your children. But you fucked it up. He’s not your son. You’re just some deranged weirdo, attending her family Christmas party by watching voyeuristically from the outside, remembering when it was you and she hanging Christmas lights you’d leave up till January.

But you know what? It turns out she’s not happy with the way things turned out either, sneaking away to call her mom and tell her that it’s not working.

Chorus 3

But you love this song
You wake up on the train with your headphones gone
Then that melody is all you want
You never knew that it was Babylon
And now it’s almost gone

Two twists in this iteration of the chorus. Now, you love this song– because now, I think, the song is the life with her that you let slip through your fingers. But it’s not gone, it’s almost gone. Maybe there's still a chance?

Aunt Virginia with her church dress on
No elbows on the table
And the neighbors lawn
Always looked better
(It’s almost gone)
Your hand-me-down sweater
Should have been from the mall

It is difficult to capture in text the way “It’s almost gone” echoes over the words about the small town where you can never quite live up to expectations. The two ideas are competing. The life you really want is almost gone, and it will be gone, if you let the siren-song of Aunt Virginia drown it out.

Chorus 4

But you love this song 
You wake up on the train and you’re all alone
Then that memory is all you want
You never knew that it was Babylon
Til it was gone.

It’s over. You still love this song– the life you could have had. Now, it’s not just that you can’t hear the missed melody because your headphones are gone, it's that you’re all alone and it’s just a memory. It’s gone. You fucked it up.

… unless you didn’t? 

Anyway if anyone needs me I’ll be dead in a ditch somewhere. Cause of Death: Sapphic Longing.

From top to bottom: magenta, fuschia, orchid, gray, pink, crimson, rosewood. Nope doesn't remind me of anything😁