#anti travis

[reviewsdefinitionofsatisfaction]

i love taylor swift but i am absolutely tired of the joe alwyn slander.

his name trends on twitter every time taylor is spotted with travis.

and the thing is if/when taylor and travis break up swifties turn on him too and say he used her for clout.

it is psychotic behavior.

I totally agree. I was a fan and their behaviour disgusted me. If she break up with Travis they are gonna remeber his past tweets...

[khruschevshoe]

You know, it's rather interesting to me that Taylor Swift's parasocial relationship with her fans is honestly more akin to a YouTuber than a writer's. When I scroll through her tag on tumblr/Twitter, it's far more regarding the connection to her personal life/relationship developments than the actual metaphors/fictional story she might be telling. Everything comes back to how her songs reflect back on her relationships with Joe/Matty/Travis/Jake/insert ex-boyfriend here. And what fascinates me about it is that even though she complains about it, she leans into that very perception because it strengthens the parasocial bond.

The marketing for TTPD so clearly being about Joe Alwyn and the songs to Matty Healy. The marketing/video for Red TV so CLEARLY being about Jake Gyllenhaal, with so many of the new lines in All Too Well specifically being digs at him (I'll get older but your lovers stay my age, casting an actor that looks like him for the video, specific lines in I Bet You Think About Me). The fact that songs like Getaway Car and Bejeweled and Gorgeous and London Boy and Lavender Haze being picked apart at time of release and long after for signs of relationships crumbling. The way she uses surprise songs in relation to her relationship development with Joe/Matty/Travis. The damn TTPD "stages of grief" playlists where she deliberately undid/changed the meanings of old songs just to keep her audience speculating on her love life.

It's not sexist to point out that her wielding her love life is a marketing tool and that the strongest connection to her audience isn't the strength of her writing/the composition of her music- it's her deliberate crafting of a connection between her music and her personal life, leaving the audience invested in her music as an extension of Taylor the Person/Girlfriend rather than Taylor the Artist.

[that-was-a-bit-stupid-of-you]

the issue with ttpd personally is that I love some of the songs but sadly I've been force-fed her personal life so much, these details keep coming and leaves a bad taste in my mouth

You can't say "1830s without the racist" after writing an album about matty healy

"So high school" is a cute love song, but it's about our xenophobic racist king tk

"I can fix him" and "daddy I love him" have some elements I like but it's about mh and her getting offended she's being held responsible for her problematic actions

"guilty as sin?" is one of my favs, but it reads very different when you know (unfortunately) the context

"so long, london" is amazing, but just like "renegade" she blames joe alwyn for having mental health issues, but also out them to the world which is the worst part of it all

wishing I didn't know the context, but it is practically impossible to engage in any taylor swift space without knowing

[swiftlyticklish]

@taylorswift

If Kamala Harris does not win this election, I hope you realize how much of an impact you made in a negative way. You have the power and the platform to change the future for the better for generations to come. Yet you decided to attend your “boyfriends” football game and hang out with guys who abuse people, are homophobic, racist and MAGA idiots who are selfish

You are showing the world that you don’t give a fuck about anyone but yourself. You get richer while your queer fans and women supporters suffer just because you refused to open your damn mouth

Why are you scared of being seen with Kamala Harris but you’re fine with being seen with the Kelce’s? Accepting gifts from the right wing extremist Hunt family?

Pennsylvania is a key swing state and yet you decided to do nothing.

And to all you hetlors going after Karlie, just know she did way more to help marginalized groups than your beloved princess. She fought for you while Taylor walked around touting her MAGA ties the night before the fucking election. And not just any election. This election is going to shape our lives for YEARS. So when shit hits the fan, just remember, Taylor hid when the country needed her the most.

[zot3-flopped]

Sylvia Plath did not stick her head in an oven for this! When Taylor Swift took the Grammys stage last month to claim her award for Best Pop Vocal Album for Midnights, she saw that spotlight as an opportunity to announce her 11th studio album: The Tortured Poets Department. The follow-up cut to audience members—Swift’s music industry peers, mind you—told us all that we would ever need to know, and the collective disinterest across the crowd echoed through our TVs.

Folks from all walks of life took to social media to express a multitude of reactions. Swifties clamored to their beloved monarch’s forthcoming era, while others lambasted the terminally cringe title and artwork and ridiculed Swift for making a night recognizing musical achievements across an entire industry about herself—knowing perfectly well that it would send her fanbase into a surge that would, no doubt, overpower the excitement around the ceremony itself.

Quite a few people questioned whether or not that moment suggested that a critical—definitely not commercial—tide would turn against the world’s most-famous pop star. And, perhaps it has—but, to most, it will look like nothing more than a single ripple in Swift’s ocean of successes.

Swift remained relatively hush-hush about The Tortured Poets Department up until its release, leaving her fans, admirers and haters alike with nothing but an album title to ponder about. And it’s a bad title.

If you have never been in Swift’s corner, her taking the route of labeling her next “era” as “tortured” was likely catnip for your disinterest. If you are a fan—not necessarily a Swiftie, but even just a casual lover of her best and brightest work—you might be beside yourself about the first Swift album title longer than one word in 14 years.

In terms of popularity—certainly not always in terms of quality—no musician has been bigger this century than Swift, which makes it impossible to really buy into the “torture” of it all.

This is not to say that Swift being the most famous person in the world makes her immune to having multi-dimensional feelings of heartbreak, mental illness or what-have-you.

But, she has made the choice—as a 34-year-old adult—to take those complex, universal familiars and monetize them into a wardrobe she can wear for whatever portion of her Eras Tour setlist she opts to dedicate to the material.

Torture is fashion to Taylor Swift, and she wears her milieu dully. This album will surely get comparisons to Rupi Kaur’s poetry, either for its simplicity, empty language, commodification or all of the above.

And, sure, there are parallels there, especially in how The Tortured Poets Department, too, is going to set the art of poetry back another decade—as Swift’s naive call-to-arms of her own milky-white sorrow rings in like some quintessential “I am going to take pictures of a typewriter on my desk and have a Pinterest mood-board of Courier New font” iPhone fodder. 2013 called and it wants it capricious, suburban girl-who-is-taking-a-gap-year wig back!

Soaking our book reports in coffee or having our moms burn the edges with a kitchen lighter cannot come back into fashion; the cyclical notions of culture cannot make the space for such retreads.

There is nothing poetic about a billionaire—who, mind you, threatens legal action against a Twitter account for tracking her destructive private jet paths—telling stadiums of thousands of people every night that she sees and adores them.

Tavi Gevinson says it well in her Fan Fiction zine: “When 80,000 people are also crying, you become less special, too.” If Swift can return to one of her dozen beach houses across the world, kick up her feet and say “I’m a poet of struggle,” then who is to say that millions—maybe billions—of people with access to a notes app and a social media account won’t dream that dream, too?

Maybe that looks like a net-positive, but it’s inherently damning and destructive to take an art form that has long stood on the shoulders of resistance, of love and of opposition to power, systematic injustice and climate warfare and boil it down to the new defining era of your own 10-digit revenue empire. “My culture is not your costume,” yada, etc.

The Tortured Poets Department does begin with a shred of hope that, just maybe, Swift knows what she’s talking about—as she sneaks in a cheeky “all of this to say,” textbook transitional phrasing for poets, on opening track “Fortnight.”

But “Fortnight” unmasks itself quickly as a heady vat of pop nothingness, though it isn’t all Swift’s fault. “I was a functioning alcoholic, ‘til nobody noticed my new aesthetic,” she muses, attempting to bridge the gap between a behind-the-scenes life and on-stage performance—only for it to occur while propped up against the most dog-water, uninspired synth arrangement you could possibly imagine.

Between producer Jack Antonoff’s atrocious backing instrumental and the Y2K-era, teen dramedy echo chamber of a vocal harmony provided by out-of-place guest performer Post Malone, “Fortnight” chokes on the vomit of its own opaqueness.

“I took the miracle move-on drug, the effects were temporary,” Swift muses, and it sounds like satire. This is your songwriter of the century? Open the schools.

The Tortured Poets Department title-track features some of Swift’s worst lyricism to-date, including the irredeemable, relentlessly cringe “You smoked then ate seven bars of chocolate, we declared Charlie Puth should be a bigger artist / I scratch your head, you fall asleep like a tattooed golden retriever” lines glazed atop some synthesizers and drums that just ring in as hollow, unfascinating costuming.

Aside from the Puth nod, which I can only discern as a joke (given the fact that he is one of the 150-most streamed artists in the world and is one of the blandest pop practitioners alive—I don’t care if he can figure out the pitch of any sound you throw at him), I think Antonoff should stick to guitar-playing. Get that man away��from a keyboard, I’m begging you.

Synths can be, if you use them correctly, one of the most emotional and provocative instruments in any musician’s tool-box. There’s a reason why keyboards defined the 1980s; they rebelled against the very oppressive nature existing outside of the cultural company they kept. There’s resistance in electronic music that, while they brandish an aesthetic that, to a layman’s ears, seems like technicolor hues for any infectious pop track, it’s a genre that aches to tell its own story. That is simply not the case here, and that electronica hangs Swift out to dry when she drags us through the lukewarm “I laughed in your face and said, ‘You’re not Dylan Thomas, I’m not Patti Smith’ / This ain’t the Chelsea Hotel, we’re modern idiots” lines, only to hit us with a softly sung F-bomb that sounds like a billionaire’s rendition of that one Miranda Cosgrove podcast clip.

I used to rag pretty heavily on Reputation—mostly because I thought (and still do, mostly) that it sounded like Swift had given up on making interesting, progressive pop music; that, in the wake of her (arguably) best album, 1989, it seemed like she’d lost the plot on where to go next. But as she’s put out Midnights and The Tortured Poets Department back-to-back, I find myself clamoring for the Reputation-era more than ever—at least seven years ago, Swift wrote songs like she had something to prove and even more to lose.

That was the always-obvious charm of Reputation, even despite the downsides—that she took a big swing from the echelons of her own musical immortality, that the comforts of winning every award and selling out the biggest venues in the world were no longer pillowing her aspirations. Even though that swing didn’t land, she still made it in the first place—and Swift is at her best either when she is clawing upwards (Reputation) or faced with nowhere to go but into the studio and noodle with the bare-bones of her own sensibilities (folklore).

You get something like The Tortured Poets Department when the artist making it no longer feels challenged, where she strikes out looking.

The mid-ness of The Tortured Poets Department will not be a net-loss for Swift. She will sell out arenas and get her streams until she elects to quit this business (a phrase decidedly not in her vocabulary, surely).

She will sell more merch bundles than vinyl plants have the capacity to make, and rows of variant LP copies will haunt the record aisles of Target stores just as long as Midnights has—if not longer.

Perhaps, in five or six years’ time, we will speak of this record just as we now do of Reputation. But right now, it is obvious that Swift no longer feels challenged to be good. The Tortured Poets Department is the mark of an artist now interested in seeing how much their empire can atone for the sins of mediocrity.

Can Swift win another Album of the Year Grammy simply because she released a record during the eligibility period? The Tortured Poets Department reeks of “because I can,” not “because I should.”

On “I Can Fix Him (No Really I Can),” Swift tries stepping into the shoes of the country renegades who came before her—the Tammy Wynettes and Loretta Lynns of the world. But her self-aggrandizing inflation of importance, glinting through via a seismically-bland bridge, is backed by a minimal set dressing of guitar, drum machine and keys.

“Good boy, that’s right, come close,” she sings. “I’ll show you Heaven if you’ll be an angel—all mine. Trust me, I can handle me a dangerous man. No, really, I can.” On “Florida!!!,” Swift calls upon Florence + the Machine to help her sing the worst chorus of 2024: “Florida is one hell of a drug / Florida, can I use you up?”

Even Welch, who is a fantastic pop singer-songwriter in her own right, delivers a grossly watery verse: “The hurricane with my name, when it came I got drunk and I dared it to wash me away.”

Not even the typos on the Spotify promotional materials for this album could have foretold such offenses. I won’t even get into the sonics, because Antonoff just rewrites the same soulless patterns every time.

What separates The Tortured Poets Department from something like Reputation is that, on the latter, Swift made it known what was at stake and who she was making that album for—herself, in the aftermath of her greatest long-standing criticisms (“Look What You Made Me Do” triumphs exactly because of this).

On The Tortured Poets Department, there is a striking level of moral nothingness. The stakes are practically non-existent, and the album sounds like it was made by someone who believes that they had no other choice but to finish it, as if Swift fundamentally believes that her creative measures are firmly embedded in the massive monopoly her name and brand currently hold on popular music. That’s how you get meandering pop songs about hookups, wine moms, Stevie Nicks comparisons, Jehovah’s Witness suit mentions, hollowed-out, tone-deaf nods to white-collar crime in lieu of empowerment and, topically, Barbie dolls.

(Don’t even get me started on the Anthology lyrics, which feature these absolute barn-burners: “Touch me while your bros play Grand Theft Auto” and “My friends used to play a game where / We would pick a decade / We wished we could live in instead of this / I’d say the 1830s, but without all the racists / And getting married off for the highest bid.”) This album and its hackneyed grasps at relevance exist as “Did I just hear that?” personified, but in the most derogatory sense of the notion.

My Boy Only Breaks His Favorite Toys” features another low-point in Swift’s lyrical oeuvre, as she sings “I felt more when we played pretend than with all the Kens, ‘cause he took me out of my box”—perhaps a measure of her capitalizing on the Barbenheimer mania that none of us could escape, not even the musician who spent most of 2023 flying across the world from one country to another.

But you, us, the listener—we want to believe that Swift makes these records because she has the artistic will, drive and interest to continue giving us parts of her story in such ways that they exist as an archival of her life.

But the problem is that, on The Tortured Poets Department, Swift is packaging her life into a form that is easily consumable for the 17 or 18 years olds who pour over her music. Just because her Eras Tour film is on Disney+ doesn’t mean she has to strip her songwriting (which we know can be, and has been, phenomenal) down for the sake of it being digestible by a wide spectrum of ages.

And, sure, maybe that makes the work accessible. But on The Tortured Poets Department, Swift makes Zoomer jargon her bag—titling a song after one of the most popular video games in the world and conjuring flickers of “down bad” and “I can fix him”—and it feels like she’s cosplaying because the Fountain of Youth was out of order.

Now that Swift is in her 30s, it sounds like she is infantilizing her own audience more than ever before—that singing to them at a level that could force them to reckon with something more akin with adulthood would be some kind of kink in the coil or her consumeristic threshold, that writing lyrics that sound like they were penned by a 30-year-old would, somehow, deter the interests of the billions of people who adore her.

If making one, continuous coming-of-age album is what Swift has been doing for 15 years, folklore and evermore were hiccups in the timeline—existing as the most fully-formed renderings of Swift’s own insecurities and concerns. They mirrored our platitudes towards an uncertain future with sweet, stirring remarks about isolation and heartbreak and the unavoidable, hard-worn truth about getting older. On those records, her larger-than-life living seemed, for once, to truly feel as close to the ground as ours.

Now, though, Taylor Swift is at the top of the mountain. Far better artists have made far worse records than The Tortured Poets Department, but you can’t read between the lines of this project. There is nothing to decipher from a place of quality.

Sure, Swift’s fan base will pour over these lyrics for the rest of their lives—insisting they know, for certain, which song is about who. But you cannot place a bad album on the shoulders of lore and expect it to be rectified.

We are now left at a crossroads. Women can’t critique Swift because they’ll run the risk of being labeled a “gender traitor” for doing so. Men can’t critique her because they’ll be touted as “sexist.”

And, sure, Swift is probably too easy a punching bag in this case—and most of the time, I would argue she is undeserving of being a victim of such barbs. But, you cannot write about someone being a “tattooed golden retriever” and get away with it and still retain your title as the best songwriter of your generation. You just cannot.

Sisyphus should be glad he never got the boulder to the top of the mountain—because Taylor Swift is showing us that such immortality and success ain’t all it’s cracked up to be. And, when you’re standing on the peak alone, who else is there left to hit?

In a recent interview with The Standard, Courtney Love said that Swift is “not interesting as an artist,” and I think The Tortured Poets Department proves as much. She has nothing to fight for, no doubters left to drown.

So where does she turn? Well, to boredoms of celebrity thinly veiled as sorrow everyone and their mother can latch onto—because we’ve all had to “ditch the clowns, get the crown” at some point in our lives, right?

The billionaire is having an identity crisis, but there are no social media apps for her to buy up. So she sings like Lana Del Rey and writes meta-self-referential songs about looking like Stevie Nicks.

What’s hollow about The Tortured Poets Department is that the real torture is just how unlivable these songs really are. No one can resonate with “So I leap from the gallows and I levitate down your street, crash the party like a record, scratch as I scream ‘Who’s afraid of little old me?’ You should be.” And normally, that wouldn’t be an end-all-be-all for a pop record—but when your brand is built on copious levels of “I’m just like you!” as the demigod saying it to their fans does so from a multi-million-dollar production set, it’s hard to not feel nauseated by the overlording, overbearing sense of heavy-handed detritus we’re tasked with sifting through on The Tortured Poets Department.

Love’s words to Lana, her advice to “take seven years off,” should be applied to Swift. Now, that doesn’t mean that, to make a good album, you must sit on material for years and labor extensively through the sketching, shaping and recording in order for it to be transcendentally landmark. But it’s obvious now that not even Taylor Swift wants to be the head of an empire—that she, too, can’t outrun the damning fate of being plum out of ideas by hopping in her jet and skirting off to God knows where.

See you at the Grammys.

****

[sickness-stricken]

Imagine saying this

Making Golden Globes HISTORY

And all anyone can talk about is the climate criminal kinda making a face

Personally???? I would be livid

[shitswiftiessay]

swifties are really trying to delude themselves into thinking that travis is her feminist boyfriend and joe was trying to keep her in the kitchen “breeding” her 💀

just fucking clowns 🤡

[dropoutconfessions]

to the person earlier who went off angry about how evan is treated like the main character in mismag, listen that's a flaw of the show not the fandom. Brennan spends sooooooo much time in that season both talking about his own character and making his curse THE Big Fucking Deal of the season. Then Erika enables it by having their character constantly talk about how hot and tortured he is.

Honestly my one critique there is that Aabria as the DM should have never let Brennan have a storyline that made him the Harry Potter insert for the series if the focus of the campaign was supposed to be the group. As a DM, if one of my PCs got that off balance with stealing the spotlight I would talk to them and find ways to pull other characters into the fold more so they don't get sidelined like especially Danielle was that season.

I think we watched different mismags, pretty sure it was the other players focusing on Evan, Brennan was just dm describing his character. Evan was Leiland from Bloodkeep if he actually could succeed on rolls in that way.

I'd also like to say, certain sidequests (Tiny Heist, Mice & Murder) are based around stories where there is a main character. Some one has to be the Danny Ocean, the Sherlock Holmes, and in the case of Mismag, the Dark Lord. Brennan has mentioned previous to Mismag that on the rare opportunities he gets to be a player character, he asks the dm what he could do to best serve the narrative. Assuming he did that here as well, it's likely that Aabria wanted someone to play a Dark Lord archetype, and given no one else did that, Brennan stepped up to plate.

But I don't think Aabria, like, ignored the other pcs, both K and Sam had huge narrative control during certain sections of the story, and Whitney was basically team leader the whole campaign.

The fandom is absolutely the problem here, outside of confessions, no one ever talks about that last paragraph. This fandom has hella blorbofied Evan to the detriment of every other pc.

[lostyesterday]

Star Trek shows tend to give an interestingly consistent narrative role to ensign characters (or characters who aren’t ensigns, but are otherwise notably the lowest ranked/youngest of the cast). The Ensign generally represents youth and innocence in both its positive and negative aspects – simultaneously representing the perfect model Starfleet officer and the dangers of overconfident inexperience. There will be stories where The Ensign’s youth and optimism are the emotional core of the crew that actively saves the day, and there will be stories where The Ensign’s inexperience result in disastrous consequences.

The characters that fit most into this category are Chekov in TOS, Wesley in TNG, Nog in later seasons of DS9, Harry in Voyager, Tilly in early seasons of Discovery, Adira in later seasons of Discovery, and Uhura in SNW. It’s a bit different in Lower Decks and Prodigy since almost all the major characters in those shows are equally low-ranked/inexperienced, but most of those characters do share plenty of similarities with the typical Ensign archetype.

An important thing to note, though, is that this archetype implies the beginning of a character arc – generally a coming-of-age style one where we see The Ensign gain experience and perspective, losing both the positives and the negatives of their youthful bright-eyed inexperience. Nog’s war trauma arc is one example of this. Wesley gets a more classic coming of age arc. Tilly, Adira, and Uhura all get arcs about learning to trust in their own abilities, finding their place in the world, etc. And generally speaking, if their shows aren’t cancelled prematurely, these characters do gain rank or get promoted to new positions. It’s sort of an obvious part of what this character arc entails. Every single one of the characters I just mentioned gains rank onscreen at least once. Even Chekov, who comes from TOS where nothing really changes episode to episode, gets to be shown over the course of the movies gaining rank and experience.

Which all makes Harry’s perpetual ensign status on Voyager even weirder. I’ve seen people defend the decision to never let Harry gain rank (or any other real promotion in responsibilities/duties) by referring to the Ensign archetype. Star Trek shows always have an Ensign, so supposedly Harry needed to keep being The Ensign forever. But this argument doesn’t make much sense when you consider what the typical Ensign arc entails for basically everyone except Harry. If Harry followed the typical Star Trek Ensign character arc, he would have gained rank and responsibilities over the course of the show. It would be very inaccurate to say that Harry has no character arc over the course of Voyager – we see him become more experienced and hardened by the events of the show. But despite all of this, he gets an episode like Nightingale in season 7. He is never allowed to grow beyond the original parameters of The Ensign archetype.

[rocks-in-my-vodka]

swifties : taytay is the greatest songwriter of the century!!!

kendrick lamar, holding his pulitzer prize : am i a joke to you?

[icedsodapop]

I bet a White person wrote this shit.

Yup🤦🏻‍♀️

[reviewsdefinitionofsatisfaction]

!!!

[unbotheredalwyn]

So obviously after the Joe breakup shit changed we had that ratty twatty and then suddenly travis. Like ratty twatty first of all made it seem like you know this person is like horrible yet you choose to be with him? Everyone called her (rightfully) out I feel like cause he is really a twat of a person and the whole ice spice collab to basically "save" Matty twattys image. I also felt like it was unfair of her fans to force her to break up with him I mean it's her life. And Joe during this time went through so much shit after the break up I remember he was papped and everyone made fun of how skinny he is and how horrible he looks (he had bags under his eyes on the photo) which is actually sad cause he lost his grandmother I think during that time and people were genuinely saying disgusting things and saying mother is looking so much better etc etc while Joe was having a downwards spiral. Again I understand no one knew his depression was that bad but fuck swifties can be more kind.

Exit ratty twatty enter travesty lord this man gives me the ick.

Swifties are blinded by their relationship but he is really not a good dude. I mean that video live of him pushing his coach and yelling? Videos online of him being openly racist, being a trump supporter (and also swifties are dumb they think bc he got vaccinated and bent the knee for black lives matter he is somehow Democrat?) honey trump is vaccinated as well. And just because he supported blm does not make him a good person. He was PAID to do all that performative shit.

I mean she has millions of fans, thousands of young girls thinking the blatant red flags of travesty is hot and shit. Tells me he can push her around too. (not to mention he supported his abusive friend that literally hit his wife.)

And it feels like she's forcing travesty tbh? Like girlie you wanted the art to be about you yet you let some man overshadow it. Because truly that's what's happening like swifties are more into him at this point and the relationship they made up in their head as Taylor.

This is where I got annoyed and took a step back. Each time they were seen Joe got thousands and thousands of hate just for what being introverted?

Then they attacked Emma (Joe's Co worker) for a cheating rumor THEY MADE UP and the shit they said were so genuinely disgusting she had to switch off her comments.

Then Ai audio dropped about Joe abusing Taylor and Ai videos circled making it seem like Joe is a cheater when he is NOT. fuck they even trended a sex scene with that Alison chick he worked with saying he said Alison (her real name) and not her character's name when he DID NOT. It was in the fucking series! This woman got slut shamed so bad she turned off comments too for literally WORKING with Joe. Swifties literally spread shit around that he cheated on Taylor with Emma and Alison when he didn't! And the fucking best of all Taylor was on the set while filming conversations with friends. She most likely saw it IN PERSON and they chose to say all this genuinely disgusting shit about Alison who I've learned is actually a pretty good person.

Here I got genuinely disgusted.

So okay again I understand that Taylor can't control all her fans but her silence while her cult mass harrases people?

Whats insane to me is Joe. Like the guy got so much hate because SHE CHOSE to lead fans on. When she announced ttpd everyone thought the title relates to Joe and Paul mescal

Joe got mass hate

Then the secret songs at eras being about cheating

Joe got death threats

ALL TO BE AN ALBUM ABOUT THE FUCKING SEWER RAT SHE CAN'T GET OVER?!

she literally took ALL the hate against Joe *knowing* she's releasing an album dissing her 6 weeks situationship is genuinely disgusting. I cannot fathom it.

And AND the only thing she could say about Joe is dude did not want to marry her bc he was severely depressed WHICH IS NOT HER PLACE TO TALK ABOUT HIS STRUGGLES?

like I am SORRY this man wants to d word next to her and she just didn't care and wanted to fuck Matty?

Her partner, that got her through her darkest times BTW, did not deserve this.

She let all this mass harrasment just happen to market ttpd. Like genuinely what the actual fuck. 2 innocent women Emma and Alison were attacked and called sluts for genuinely existing and breathing the same air as Joe. And the proof he did not cheat is in her OWN lyrics. (which swifties cannot seem to fucking read bc they'd rather attack Joe than admit this album is about a sewer nazi rat)

The hate Joe got made me cry. The disgusting things they said about him. Swifties literally threatening to bash his head in with a hammer or that he needs to hang himself and they'd enjoy seeing his body swinging from the roof.

Genuinely why would any person say this to anyone at any time?

And they made fun of depression like. What. The. Fuck. Just because Joe might not see it does not mean other people with crippling depression won't.

Oh and a side note she's still bringing up Kim on albums? Not just Kim Kim's CHILD?! leave the kid alone.

Genuinely feel like the most honest Taylor we got was during lover (a time which Joe helped her voice her political opinions and shit) and idk I just feel cheated on?

My whole life I've defended Taylor against everyone and I genuinely feel like she's showing her true colors now being with travesty and ratty and I cannot fathom how this is the same Taylor I'm seeing now as she was like a few years ago.

And it's not just Joe that got death threats BTW. When midnights came out and everyone gave honest reviews cause that evil Jack antonof little gay man ruined the production there were journalists literally getting so much death threats its insane.

Taylor gets (rightfully) called out and fans can't handle it.

She needs to address them ASAP. All these parasocial freaks. The people harrasing Joe. The people literally only seeing Taylor as a breeder for travestys children.

I can't genuinely I can't this is not how I want to feel about Taylor I mean I gave her my youth I looked up to her so much I feel so disappointed in the way she's acting yk?

Yes maybe she can't do jack shit about swifties but she can try.

And her staying quiet over Palestine? Her voice her one post about a ceasefire could change EVERYTHING.

idk at this point I can't stand to be around Taylor.

[joesalw]

not taylor and travis putting on a whole circus on the stage lmfao, this is the most desperate and miserable she has ever been in her life. tree paine is selling her soul to bury those scooter documentary receipts 😂 but karma is coming hard and fast. carry on with the shitshow guys. me and besties are enjoying

[theshadyrodian]

i hate billionares. i hate climate terrorists. i hate people who don’t hold sexual assault felons fucking accountable & maintain complicity in their behaviour. i hate white feminism. i hate perpetuators of capitalism and hierarchal exploitation. i hate narcissistic assholes who will do the MOST to get any press and make it everyone’s fucking problem.

i hate taylor swift, travis kelce, blake lively, the fucking mahomes siblings, mass corporations, the superbowl.

genuinely sick and tired of the goddamn bootlicking of celebrities and corporations. fine, stan taylor swift. fine, keep buying starbucks and mcdonalds even though they are COMPLICIT in the palestinian genocide. but do NOT pretend to be a good, decent human being, because you’re fucking ignorant and no one wants to fucking hear it.

[zot3-flopped]

https://x.com/hygtglover/status/1851011319170023456

the likes on this make me smile. Swifties one sided beef with joe will never not make me wonder if they are crazy

Wow - 25.8k likes!