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influencermagazineuk · 7 months ago

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Taylor Swift Rocks Wembley with Boyfriend Travis Kelce in the Crowd

Eva Rinaldi, CC BY-SA 2.0 https://creativecommons.org/licenses/by-sa/2.0, via Wikimedia Commons Thousands of Taylor Swift fans declared her opening Wembley show “the best ever” as the megastar took over London. The American pop star played the first of three sold-out nights in the capital, with boyfriend Travis Kelce among the 90,000-strong crowd on Friday. Swift, 34, will wrap up her current run on Sunday night before returning in August for five more concerts. The frenzy began as Swifties started converging at the venue since Tuesday, with some fans sleeping in tents or huddling in blankets overnight to be part of the atmosphere for her record-breaking Eras Tour. Fans traveled from all over the world, many dressing up in outfits inspired by her music videos. NFL star Travis Kelce was spotted at Wembley Stadium supporting his girlfriend, Taylor. He was joined by his brother Jason Kelce, who recently retired from the Philadelphia Eagles and was seen exchanging friendship bracelets with fans. Jason proudly showed off his arm full of bracelets to his wife Kylie Kelce, in a video circulating online. Other celebrities at the performance included Bridgerton and Derry Girls actress Nicola Coughlan and British model Cara Delevingne. Labour leader Sir Keir Starmer and his wife, Victoria, were also in attendance. The excitement extended beyond Wembley as eleven London Underground lines were temporarily renamed after Swift’s 11 studio albums. Additionally, the military band at Buckingham Palace performed a rendition of Swift’s hit “Shake It Off” on Friday. In a video on X (formerly Twitter), titled “Changing of the Guard (Taylor’s Version),” the Royal Family’s official account celebrated the singer’s arrival in the city, captioned: “Can’t stop, won’t stop groovin’.” A report this week predicted that Swift’s London concerts will boost the capital's economy by £300 million. Approximately 640,000 fans attending the eight Wembley shows are estimated to spend an average of £471 each, according to the Greater London Authority. Lilly Gagata, 31, and her sister Shannie, 33, traveled two hours from the Midlands and arrived at the London stadium at 10 am, despite not having a ticket for Friday’s performance. They wanted to be part of the experience when Swift kicked off her run of gigs and to ensure they didn’t miss out on any merchandise, which might sell out by the time they attend the show in August. Long-distance friends Filip, from Croatia, and Bailey, from Florida, also made the trip to London. Bailey said, “I can’t wait to see Taylor, this is like the best show to go to.” Filip added, “It feels special, dazzling and magic here.” Meanwhile, friends Rachel and Yan traveled from Ipswich in Suffolk to see the show. Rachel expressed their excitement, saying, “We’re so excited to be here, I’m hoping to hear the OG (original) songs from the first album.” They were particularly looking forward to hits from Swift’s 2008 album “Fearless.” The doors opened at 4:30 pm, with the support act Paramore taking the stage at 5:45 pm. Swift began her set at 7:30 pm, thrilling the audience with her performance. Eva Rinaldi, CC BY-SA 2.0 https://creativecommons.org/licenses/by-sa/2.0, via Wikimedia Commons Read the full article

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1d1195 · 9 months ago

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omg I don’t even blame you texting harry sounds like a dream come true DONT SAY ANYTHING BUT IM SOSOSOSO EXICTED

I saw this screenshot of a tiktok once that said something like “me knowing ive met some of my best friends bc we both liked some guy on the internet at the same time” (the girl was talking ant harry ofc) AND I SPENT SM TIME LOOKING FOR IT and I couldn’t find it again :( but it reminded me of us and just everyone on this blog. we really did discover each other cause some guy we’re all obsessed with.

i love On My Own !!! Ive be getting into Heartbreak Weather again specifically Small Talk and Still (totally opposite vibes ik😭) Im just completely in love with that album and anything that man does lol

im def an OG swiftie my sister got me to listen to her back in the fearless era and ive been a obsessed ever since. i sorta grew up with her and will forever support that woman, she’s just been through so much and I have so much respect for her. Im soooo psyched for this new album as well cause the vibes are just…PERFECT so far.

OH NO NOT YOU’RE ON YOUR OWN KID😭😭 that songs left me in tears the first time i heard it and a ton of other times. but i completely understand they played Never Grow Up at my little brother’s graduation and I was IN SHAMBLES

OH MY I CANNOT TELL YOU HOW EXCITED (and shocked!) I WAS WHEN A TAYLOR X ZAYN COLLAB DROPPED and let me tell you that song was on REPEAT !!!!!

those 1989 vault tracks had me all🫢 knowing they were abt harry😭 I MEAN “I say I love you, you say nothing back,” OH MY GODDDDD (but I truly believe he could break my heart and id thank him for it even tho there’s no chance I would come back from that)

can’t wait to hear your thoughts mwah mwah <3 !!!

~🎶

IT'S SO GIRLHOOD TO BE FRIENDS WITH EVERYONE BECAUSE WE ALL LOVE HARRY. I'm crying 😭😭

I would murder for Niall I agree completely. Anything he does is PER-FECT.

That's so sweet of how you think about Taylor, that makes so much sense and it's nice you have that relationship with your sister and also sort of Taylor if you know what I mean!

I AGREE WITH YOU. I would let Harry drop kick me out a window and I would definitely thank him. It's my one major red flag/toxic trait whatever you want to call it.

Is your sister older or younger than you? It's nice you have a sister and a brother. That's something i always wanted. 💕

It's lovely chatting with you as always 💕

xoxo

#🎶

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bananaofswifts · 4 years ago

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Taylor Swift Turns on a Facsimile Machine for the Ingenious Recreations of ‘Fearless (Taylor’s Version)’: Album Review

Swift recreates her entire 2008 album literally down to the last note, then gives herself room for stylistic latitude on six never-before-recorded "vault" tracks.

By Chris Willman

Swift recreates her entire 2008 album literally down to the last note, then gives herself room for stylistic latitude on six never-before-recorded "vault" tracks.

There is no “best actress” award at the Grammys, perhaps for obvious reasons, but maybe there should be this coming year. And the Grammy would go to… Taylor Swift, for so persuasively playing her 18-year-old self in “Fearless (Taylor’s Version),” her beyond-meticulous recreation of the 2008 recording that did win her her first album of the year trophy back in the day. It’s impossible to overstate just how thoroughly the new version is intended as an exact replica of the old — all the way down to her startling ability to recapture an untrained teen singing voice she’s long matured and moved on from. It’s a stunt, to be sure, but a stunt for the ages — mastering the guile it takes to go back to sounding this guileless.

There are two different, very solid reasons to pick up or stream “Taylor’s Version,” regardless of whether you share her ire for the Big Machine label, whose loose ways with her nine-figure catalog precipitated this, the first in a six-album series of remakes where she’ll be turning on the facsimile machine. One is to marvel at her gift for self-mimicry on the album’s original tracks, where she sounds as possessed by her younger self as Regan ever was by Pazuzu. The other reason is, of course, to check out the six “vault” numbers that Swift wrote during that time frame but has never released before in any form, which dispenses with stylistic fealty to the late 2000s and frames her “Fearless”-era discards in production and arrangements closer to “Folklore.” Those half-dozen (kind of) new tracks really do sound like modern Taylor Swift covering her old stuff.

But those original lucky 13? It’s the same damn record… which is kind of hilarious and marvelous and the kind of meta-ness that will inspire a thousand more think-pieces than it already has, along with possibly efforts at forensic analysis to figure out how she did it.

It would not be surprising if, as we speak, Big Machine was putting a combined team of scientists and lawyers on the case of the new album’s waveform readouts, to make sure it’s not just the original album, remixed. Honestly, it’s that close. The timings of the songs are all within a few seconds of the original tracks, if not coming in at exactly the same length. The duplication effort doesn’t allow any detours. If “Forever and Always” had a cold open then, it’s going to have a cold open now. If the 2008 “That’s the Way I Love You” had slamming rock guitars with an almost subliminal banjo being plucked beneath the racket, so will the 2021 “That’s the Way I Loved You.” A drum roll to end the old “Change”? A drum roll to end its body-snatcher doppelganger. And if she chuckled before the final chorus of “Hey Stephen” 13 years ago, so will that moment be cause for a delighted giggle now.

Of course, much analysis will be put into whether the new laugh is a more knowing-sounding laugh. And that will be part of the fun for a certain segment of audiophile Swifties who will go looking for the slightest change as evidence of something meaningful. When “Love Story (Taylor’s Version)” first came out weeks back to preview the album, there were reviews written that swore she’d subtly changed up her phrasing to put a contemporary spin on the song. And maybe they were right, but, having done a fair amount of A/B testing of the two versions of the album, I found myself feeling like I do when vinyl buffs insist there are significant sonic differences between the first stamper version of an LP and one that was pressed a year later. If you can spot those very, very, very modest tweaks, go for it.

But my suspicion is that if Swift has decided to turn a phrase a little differently here or there on this album, or done anything too differently aside from brighten the sound, she’s doing it more as an Easter egg, for the people who are on that kind of hunt, than anything really designed as reinterpretation. Because the last thing Swift wants most of her fans doing is A/B-ing the two versions, the way I did. The whole point is to have folks retire the OG “Fearless” from their Spotify playlists, right? The Swift faithful were already threatening to rain down damnation on anyone caught sneaking an audio peek at the old version after midnight. What she intended was to come up with a rendering so faithful that you would never have a need to spin the vintage album again. In that, she has succeeded beyond what could have been imagined even in the dreams of the few self-forgers who’ve tried this before, like a Jeff Lynne.

Is there any reason to find value in the new versions if you couldn’t care less about the issues of masters and contracts and respect in business deals that made all this strangely possible? Yes, with the first one being that the new album just sounds like a terrific remastering of the old — the same notes, and you’d swear the same performances, but sounding brighter and punchier just on a surface level. But on a more philosophical one, it’s not just a case of Swift playing with her back catalog like Andy Warhol played with his soup can. It’s really a triumph of self-knowledge and self-awareness, in the way that Swift is so hyper-conscious of the ways she’s matured that she has the ability to un-mature before our very ears. With her vocals, it’s virtuosic, in a way, how she’s made herself return to her unvirtuosic upstart self.

On Swift’s earliest albums and in those seminal live shows — at the time when she was famously being told she “can’t sing,” to quote a song from the follow-up album — there was a slight shrillness around the edges of her voice that, if you lacked faith, you might’ve imaged would be there forever. It wasn’t. That was partly youth, and partly just the sheer earnestness with which she wanted to convey the honesty of the songs. She’s advanced so much since then — into one of pop’s most gifted modern singers, really — that the woman of “Folklore” and “Evermore” seems like a completely different human being than the one who made the self-titled debut and “Fearless,” never mind just a woman versus girl. It wouldn’t have seemed possible that she could go back to her old way of singing at the accomplished age of 31, but she found and recreated that nervous, sincere, pleading voice of yesteryear. And maybe it was just a technical feat, of temporarily unlearning what she’s learned since then, but you can sense that maybe she had to go there internally, too, to the place where she was counseling other girls to guard their sexual virtue in “Fifteen,” or wondering whether to believe the fairy tale of “Love Story” or the wakeup call of “White Horse,” or proving with “Forever & Always” that writing a song telling off Joe Jonas for his 27-second breakup call was better than revenge.

If at first you’re not inclined to notice that Swift has re-adopted a completely different singing voice for the “Fearless” remakes, the realization may kick in when those “vault” tracks start appearing in the later stretch of this hour-and-50-minute album. The writing on the six songs that have been pulled up from the 2008 cutting room floor seems primitive, even a little bit by the standards of the “Fearless” album; there are great lines and couplets throughout the rescued tracks, but you can see why she left them as works-in-progress. But she doesn’t use her youthful voice on these resurrections, nor does she employ the actual style of “Fearless” very strictly. Of course, she feels more freedom on these, because there are no predecessors in the Big Machine catalog she’s asking you to leave behind. Her current collaborators of choice, Jack Antonoff and Aaron Dessner, divided the co-producing work on these fresher songs, as they did for the two all-new albums she released in the last year. (The “Fearless” recreations are co-produced by Swift with Christopher Rowe, someone who worked on remixes for Swift back in that era.) They co-produce the vault songs in a style that sounds somewhere between “Fearless” and Folklore”… a more spectral brand of country-pop, with flutes and synths and ringing 12-string guitars and a modicum of drum programming replacing some (but not all) of the acoustic stringed instruments you’d expect to be carried over from “Fearless” proper.

Of the previously unheard tracks, Swift was right — she’s always been her own best self-editor — in putting out “You All Over Me” first, in advance of the album. With its imagery of half-muddy stones being upturned on the road, this song has advanced lyrical conceits more of a piece with the level of writing she’s doing now than some of the slightly less precocious songs that follow. Still, there’s something to be said for the sheer zippiness with which Swift conveys teen heartbreak in “Mr. Perfectly Fine,” which has a lyric that shows Swift had long since absorbed the lessons Nashville had to offer about how to come up with a high-concept song — the concept, in this case, being just to stick the word “mister” in front of a lot of phrases relating to her shallow ex, as if they were honorary titles to be conferred for being a shit, while she employs the “miss” for herself more sparingly.

Some of the remaining outtake songs go back more toward the sedate side of “Fearless”-style material; she didn’t leave any real bangers in the can. “We Were Happy,” the first of two successive tracks to bring in Keith Urban (but only for backgrounds on this one), employs fake strings and real cello as Swift waxes nostalgic for a time when “you threw your arms around my neck, back when I deserved it.” It’s funny, in a good way, to hear Swift at 31 recreating a song she wrote at 17 or 18 that pined for long-past better times. The next song, “That’s When,” brings Urban in for a proper duet where he gets a whole second verse and featured status on half a chorus, and it’s lovely to hear them together. But, as a make-up song, it doesn’t feel as real or lived-in as the more personal things she was writing at the time — and the fact that its chords are pretty close to a slightly more balladic version of the superior “You Belong With Me” was probably a pretty good reason for dropping it at the time.

the 18-year-old Taylor Swift is a great place to visit, but “Folklore” and “Evermore” are the place you’ll want to return to and live, unless you have an especially strong sentimental attachment to “Fearless”… which, sure, half of young America does. It’s not irreconcilable to say that the two albums she issued in the last year represent a daring pinnacle of her career, but that “Fearless” deserved to win album of the year in 2008. Has there been a greater pop single in the 20th century than “You Belong With Me”? Probably not. Did the album also have lesser moments you probably haven’t thought about in a while, like the just-okay “Breathe”? Yes. (I looked up to see whether Swift had ever played that little remarked upon number in concert, and according to setlists.fm, she did, exactly once… in 2018. Because she’s Taylor Swift, and of course she did.) It’s not certain that her duet with Colbie Caillat really needed to be resurrected, except it’s fun, because hey, she even roped former duet partners back into her time warp. But there are so many number that have stood the test of time, like “The Way I Love You,” an early song that really got at the complicated feelings about passion and fidelity that she would come to explore more as she grew into her 20s… and just kind of a headbanger, too, on an album that does love its fiddles and mandolins.

It doesn’t take much to wonder why Swift put up “Fearless” first in this six-album exercise; it’s one of her two biggest albums, along with “1989,” and it’s 13 years old, which does mean something superstitious in the Taylor-verse. In a way, it’ll be more interesting to see what happens when she gets to more complicated productions, like “1989” or “Reputation.” But maybe “Fearless” did present the opportunity for the grandest experiment out of the gate: to recreate something that pure and heartfelt, with all the meticulousness a studio master like Swift can put to that process now, without having it seem like she’s faking sincerity. Let the think-pieces proceed — because this is about six hundred different shades of meta. But, all craftiness and calculation aside, there’s a sweetness to the regression that’s not inconsequential. It harks back to a time when she only wondered if she could be fearless, before she learned it the harder way for sure. What they say about actors “disappearing into the role”? That really applies to Taylor Swift, playing herself.

#taylor swift #fearless #review

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uneventfulhouses · 2 years ago

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i’m not even that og of a swiftie, like i’ve only been here since the drop of red (2012), and ever since then, i’ve always treated each album and era a bit like it’s own concept. like imagine picking up every album up to red, and then 1989 comes out and it’s such a turn from what she’d been putting out before then. like what does taylor even really sound like? genius lyrics is really the only thing i ever expect of her, and she delivers on that every time. i think on my first listen, midnights was clumsy, but in such a fun way, like it’s conversational. a late night convo between friends. someone said it’s the walk home after a night out, drunkenly reflecting on your life and i agree so much. this album feels like 1989 and lover, but it also feels like red, and it also feels like speak now and fearless and people should listen to it more if they think at it’s very core it doesnt have some of the same thick, piercing lyrics that folklore and evermore have. what i find the coolest is that most of the songs are reminiscent of some of her past songs, and even some songs from other artists, which is neat to be able to pick out a lyric/melody that i loved somewhere else. at the end of the day, this album is very, very good, deserves every 10/10 and 5 star review.

#taylor swift

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wizard101swiftie · 2 years ago

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It’s my 22nd birthday!! (And it’s 22:22 on 24 hour time)

You know the drill…😉

#birthday #22 #22 taylor’s version #taylor swift #swiftie #swiftie since fearless OG era #22 taylor swift #Spotify

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nicollekidman · 4 years ago

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quick question! as a new swiftie (well new to being in the online space, i've been a fan since og fearless), i wasn't around for the lover era- what do you mean by the pivot thing?

super brief drama-avoiding detail hazy summary is basically that lover era started out with very clear signs that taylor and her team were laying the foundation for some sort of coming out and then things Changed... me! being the lead single with the accompanying imagery and taylor saying gay rights is something that makes her her (since when!), the entire yntcd rollout/conception, playing stonewall, an adherence to a rainbow aesthetic, the general tone of a lot of her press, stepping into the daylight (not to mention the content of the lyrics of lover as a whole which is as always the most telling and honest thing)........... then we saw stuff being scrapped bc of the reception (i still think there was a cut kiss with katy perry in the yntcd video), The Rolling Stone Article that never materialized (sorry i know you’re new but if i go into that theory i’ll get a million trolls in my inbox) and just a general toning down of the aesthetic and the messaging (example: the weird circumstances around the city of lover concert and how she showed up wearing all black and being kind of melancholy)

tldr; the beginning of lover era was a jojo siwa cosplay in both aesthetic and yknow, gayness, then things got muted and quieter and it kind of just... fizzled out altogether, and word at the time was that this was at least partially because of a plan she had made to come out, but then scrapped

#GOD i really will just Answer Messages About Taylor when i don't want to work skdfjgh #Anonymous

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bisluthq · 3 years ago

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I mean yall also think she isnt friends with Lena lmao because there arent any pap pics,,,,but she is literally one of ehr best friends

Right like okay again we have a lot of new readers seemingly but like guys the core readership here is 1) aware that we don’t know Taylor and are only ever basing shit off what she shares or what we can sleuth and find which isn’t her whole life 2) love discussions of PR and marketing - we aren’t experts but it’s legit interesting for us.

Taylor has always had stuff she’s chosen to market and stuff she’s chosen to keep more close to her chest. Re her friends, she started off talking about all her school friends, but by Fearless narrowed it down to Abi publicly. She didn’t really bring any of her other friends anywhere from then on. She did sometimes mention having them but not by name. When Jeff committed suicide, well into Speak Now era, she did mention him by name and said he’d been the first person she played music to. She dedicated songs to him (Drops of Jupiter with altered pronouns) and we assume wrote Forever Winter about the situation. He was a VERY close friend. Most of fandom doesn’t remember him tho like only OG Swifties who followed SN tour and her performances about him do. Again, this doesn’t mean he wasn’t a pivotal person in her life.

Lena is her BESTIE but since both got cancelled they haven’t been publicly performative about that friendship until the wedding where Tay agreed to do the pics and shit and was MOH so clearly isn’t THAT embarrassed. She just doesn’t want to market this anymore.

That’s the vibe with the Joe stuff like she’s happy to sell THE MUSIC but she doesn’t want to sell them as a celeb couple because she’s over doing that.

#nat talks tay’s marketing

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likedaylighht · 4 years ago

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You know what I really don’t get? The whole idea that if you started liking taylors music when she was still country then you are like a true swiftie??? I do not get it. Why do some of y’all want to talk about that as if it’s some accomplishment to be proud of? Some of us were children when that music came out and a lot of our music influence had to do with our family. Like if you discovered her music and fell in love at 7 years old in the fearless era and never looked back then that’s awesome! But if you were 15 and only became a swiftie during 1989 and have since gone back and fallen in love with OG country Taylor and been along for the ride ever since that’s rad too! Or maybe you became a swiftie during reputation or lover or hell even folklore and love her new stuff and that’s all that matters bc she helps you feel seen and understood, that’s amazing too! Idk when you found her music and become a swiftie! We love miss Swift for how her music makes us feel and honest to god I don’t care what era you became a swiftie or how long you’ve been here, we are all here now and we all love her music and THAT is what I love about being a swiftie

#taylor swift #taylor nation #swifties #my thoughts

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calswildflcwer · 2 years ago

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what got you into taylor swift?

Oh jeez, that takes me so far back! Okay, so- this could be a ramble/long answer.

I became a fan of Taylor Swift thirteen years ago, I was ten years old. I believe it was during the OG Fearless era. Back in the day, my fam and I used to do what we called “karaoke nights” but it was just in the living room of our house, performing to our ‘mother’ and her best friend. One day, my older brother approached me and said “Bee, I think you’d really like this singer.” And he passed me the Fearless album that he had illegally copied 🫢. I began to play it and instantly became obsessed, listening to that album made me want to listen to any and all other albums she had out at the time and I think it was only her debut album, Taylor Swift, that was out at the time. So I sat in my bedroom and began listening to that album. Since that day, I was hooked. My brother used to play guitar and we began performing Taylor’s songs together- I would sing and he’d play the guitar or piano to go with it. As the years passed, Taylor’s music was what got me through the bullying at school, it got me through some of the most difficult years of my life, SHE got me through the most difficult years of my life. She is the only singer I have been a fan of for this long, I did love other singers/artist back then but my love for them came and went- my love for Taylor remained strong and I think she is somebody who will always ALWAYS hold such a special place in my heart. Nobody else in my fam is a Swiftie and nobody else in my family really likes her music- besides my older brother who introduced me to her. But she is literally my baby. Idk, I just love her so damn much 🥺💖

#bee speaks #bees rambles #bees thoughts #bee rambles #bees answers #taylor swift #my Taylor Swift story #anon my beloved #anon love

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bisluthq · 3 years ago

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Did you just become a taylor fan in 2020 when you started this blog or have you been one for years? If it’s just 2020 it’s sooooo impressive you know all the taylor swift history/lore. It’s commendable.

I’ve explained this before but I’ll tell the story again: I’ve known about Taylor like beyond “she exists” since like 2008 pre Fearless because one of my high school best friends was an OG Swiftie like she discovered debut and got obsessed. I didn’t really like her then, I liked Carrie Underwood (who my friend also liked but not as obsessively) and like a bunch of sorta rockish bands idk and then Katy Perry. Anyway, I listened to Fearless like when it came out and knew a lot about her because my friend was a big stan and like we did that for Speak Now too which I actually liked a lot more than I’d liked the other two albums and then my friend went a bit more lukewarm for RED and I don’t think we listened when it came out and like I didn’t listen to 1989 either. I was like very aware of her but I wasn’t a fan idk. Then I watched Blank Space MV and I was like “wow she’s so hot” and then after that I followed her more closely through like second half of 1989 era I guess and Snakegate and whatnot like I read every Buzzfeed article about her and shit. I also then bonded with Dr Blank Space who I became friends with around then over how much we both liked the song Blank Space lmfao so I had like a new Swiftie friend. I followed Rep dropping and listened and stuff and reaaaally liked it and inadvertently kinda stumbled onto fandom because I googled who Dress is about because it sounded gay to me and Elite Daily said Karlie and I was like “oh that tracks right cuz she wasn’t on the shirt and it’s a gay song” and I googled it a bit more and discovered TTB and was like “wow these people are so funny to me” and kept like tabs on them because I like conspiracies. I continued to be a fan right like I listened to Lover a lot and lmfao I even watched Cats and I was meant to go to LoverFest Berlin which would’ve been on my birthday so it seemed very like serendipitous.

Then in the pandemic I had time so I got to reading TTB more often and then wanted to make like a “reasonable Kaylor” blog because that seemed like a good idea but hasn’t worked out for me because Klossy is like Dino-sexual tbh but then I had the blog and like enjoyed it and the community and stuff.

I also like obvi watched and read more stuff.

But yeah no it’s not like I discovered Taylor in 2020.

It’s more impressive how much I’ve learned about Karlie in this year because it’s A LOT lol and I genuinely knew nothing about her beyond like she used to be friends with Taylor and did Movie Nights and Tay didn’t go on that even tho people expected her to and she had some very iconic photo shoots and the Lee McQueen fall like that’s all I knew about her when I started the blog. I also believed some rubbish about her because I didn’t think the Kays were AS krazy as they are lol like I thought they were weird because of the klues and whatnot but I assumed they knew like biographical stuff about her and were just making weird assumptions beyond that.

I also didn’t know anything about Joe beyond he was dating Taylor and had been in Billy Lynn and The Favourite and A Christmas Carol and Harriet and my boss thought he had daddy energy and I thought she was wrong about that.

But I did know a lot about Taylor always idk.

#nat talks nat

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