#swiftie theory

[bitstitchbitch]

I know we keep clowning over rep tv, but i really don’t think it will be this year. If anything, we MIGHT get an announcement in December with the actual album coming out 2025.

just look at the pattern:

2020 - 2 original albums (folklore, evermore)

2021 - 2 TVs (fearless TV, red TV)

2022 - original album (Midnights)

2023 - 2 TVs (speak now TV, 1989 TV)

2024 - original album (TTPD)

2025? - 2 TVs? ( rep TV, debut TV)

2026? - original album? (TS12)

This lets her keep up her insane release cycle for another 2 years. I’m assuming too that rep TV is already recorded, if not debut TV as well, and she’s just sitting on them to give herself time to work on new stuff while keeping up the fame momentum. She’s a marketing genius, so she knows she has to keep our attention after the eras tour in some way, plus TTPD is still topping charts so she doesn’t want to steal its thunder quite yet.

[mujhe-kya]

my swiftie theory:

i am thinking that Taylor Swift will announce something today because she sang new year's day as a second suprise song when she announced 1989(taylor's version)

or I'll be walking down clownelia street again

[oh-my-damn]

The Eras Tour (Folklore Set) - A Lyrical Conspiracy

Okay so I've watched The Eras Tour movie three times in cinemas and now finally had the time to properly watch it without being in the cinema in a space where I had time to properly analyze and reflect

And I've realized something regarding the Folklore set. I don't know if everyone else has realized this already - maybe I'm just really slow - but watching it tonight gave me a certain clarity regarding the set and why it's in the order it is, and what purpose each song that is in it, serves.

So the actual set in the concert (not the movie because Cardigan was cut out) goes as follows:

invisible string/The 1 (The 1 replaced Invisible String from march 31st and onwards. The 1 is the song included in the movie)

betty

the last great american dynasty

august

illicit affairs (shortened)

my tears ricochet

cardigan (Not included in the movie but is in the set permanently)

So here is where my conspiracy comes in, considering not just the order, but also what she sings from each song....

Her doing Invisible String as the first song for the first month and a half (or so) is a hint that there is a string, it makes a shit ton of sense. Then it's replaced by The 1.

The 1, in this set, is sung from Betty's perspective. So is The Last Great American Dynasty (this is Betty imagining her life in the future without James)

Then we go straight into Betty. That song is self-explanatory, it's written from James' (the cheater) perspective and the placement of it directly relates to Betty singing about how "it would have been fun if you could have been the one" and her imagining what her life will now be like without him.

This is when it gets interesting.

Betty pivots into August, which is written from Augustines perspective. August is a song about how you fall in love with someone who isn't fully there, who sees you as a summer fling while you see him as an eternal love. How you can fall in love with someone who still loves someone else.

And then the set continues in Augustines perspective.

Because after August, we go straight into a shortened version of Illicit Affairs, most importantly the lyrics "Don't call me kid, don't call me baby, look at this godforsaken mess that you made me," and "and you know damn well, for you I would ruin myself, a million little times. That's the thing about illicit affairs."

This is Augustine dealing with the aftermath of their summer fling/affair, once learning that James is now actively working to get Betty back. He doesn't want her, he never did, she was just a distraction, but she truly adored him.

Then it goes from Illicit Affairs once again directly into My Tears Ricochet, STILL from Augustines perspective. The lyrics that stand out is "And if I'm dead to you why are you at the wake" and "you know I didn't want to have to haunt you, but what a ghostly scene" which tells you that James, as a surprise to no one, still had one foot in with Augustine while he was trying to get Betty back (as August alludes to) and that he tarnished what they had and downplayed it a lot (which is again proven in Betty)

Sidenote: I know My Tears Ricochet is probably about the sale of her masters but I truly believe it is being used in a different context for the Eras set.

Then we pivot into Cardigan, which is from Betty's perspective (again) and famously hold the lyrics "I knew you'd come back to me."

But once analyzing I do truly believe she is singing August, Illicit Affairs and My Tears Ricochet from Augustine's perspective. Which is just so incredibly deep and profound in a way I can't even explain, because I'm sure those songs have deeper meanings, too. But the fact they can be so effortlessly applied to the love triangle she created?

And maybe they were always meant to be interpreted this way. I don't know. But I haven't seen anyone talk about it, if that's the case. I've always seen that people believe My Tears Ricochet is about the sale of her masters.

Either way I absolutely adore this set, Folklore and Reputation are my fave sets of the Eras Tour, and even if no part of my theory is true, it's still so fun to imagine!!

[imamirrorballxoxo]

Fan theory!

‪Taylor was teasing Speak Now TV since last year. Specifically with the Midnights music videos with the koi fish guitar, “speak not”, the elevator, and the SN tour balcony. I’m sure there were other Easter eggs before this that I don’t remember, but my point is that it was 7 months of teasing and hinting. Which means the hint of “5 car washes” is just the start of months of 1989tv Easter eggs and and nods until its announcement.

I think that Speak Now TV will be released and given full attention and love, but 1989tv is going to be teased and hinted at a lot these next few months. They won’t be released together, but I bet 1989 will be announced Jan/Feb 2024 and released May/June 2024‬. 💙💜

[graciesguitar]

i figured out taylors scheming (sorta)

ok but hear me out: taylor released speak now tv on the 7th of july, right? july is also the 7th month of the year, riiiiiiiight?

so 7+7=14

and yes, 13 is a significant number for swifties not 14, i know. BUT the original, non-deluxe, stolen version of speak now by taylor alison swift has 14 SONGS.

i just cracked the code (not) taylor:)

[truthdarespinbottles]

Thinking about this post and thinking about tour dates... she had words in Japanese, Swedish, Portuguese (possibly Spanish as musas and tinta are cognates for the two languages), Irish, Dutch, Latvian, Danish, Latvian, German, and Polish

Theory under the cut

SOMETHING will be happening at the following places:

Tokyo Japan - Feb 7-10

Stockholm, Sweden - May 17-19

Lisbon, Portugal - May 24-25

Madrid, Spain - May 30

Dublin, Ireland - June 28-30

Amsterdam, Netherlands - July 4-6

My theory falls apart here because she's not going to Denmark or Latvia BUT

7 shows in Germany (Gelsenkirchen July 17-19, Hamburg July 23-24, Munich July 28-28)

3 shows in Warsaw, Poland - Aug 1-3

Between the Netherlands and Germany she's visiting Switzerland and Italy. Danish is not an uncommon language in Switzerland but it's not one of their official languages. I don't know of any connection between Italy and Latvia.

I also find it very interesting that the languages are in the order she's going to those locations (sans Denmark and Latvia) but MAYBE Danish and Latvian fans will get something????

My swiftie senses are tingling she definitely chose those languages for a reason (probably the specific words too!!!!)

[sarrf]

There’ll be happiness after you.. but there was happiness because of you🤧✨

[crumblinggothicarchitecture]

Someone smarter than me needs to do an in-depth analysis on how swift weaponizes sex. So many of her lyrics involve cheating as revenge and picking fights with her partners about other girls. She makes it sound like some godly privilege to be with her and if she masterminded her way into your life you're just soooo lucky. Even "touch me while your bros play GTA" plays into that. Like "why would you want to have fun and game with your friends when ill let you finger me". (Sidenote a bunch of her lyrics and all of Me! sounds like an abusive partner daring you to leave and dare to find someone better) It's creepy how she's so juvenile and egotistical at the same time. She's mastered the "any mention of my bfs, even the underage ones, is slutshaming" move and uses it to get out of any criticism. Like, have all the sex you want be safe whatever but don't act like some sad little girl who got taken advantage of when the game you started goes poorly.

Ask, and ye shall receive. Because this a very insightful observation! Thanks!

It is true that Swift clearly uses sex and sexuality like a "gotcha" moment. I was always quite perturbed by her songs that glorify cheating. It's just so strange, but I think it ties into her enjoyment of revenge fantasies. Anyway, I was planning to write about how Swift's music often engages with and reinforces heteropatriarchal social standards. I think your idea adds an interesting new layer to the ways in which she manipulates through sex- both in the performance of passivity to masculine authority, as the patriarchy, and the ways in which she commodifies female sexuality by weaponizing it.

You're right it's incredibly egotistical and juvenile.

Also, I have a major bone to pick with the way Taylor Swift uses feminism to shut down criticism- like OMG do I have a problem with her there. She's only ever spent her career crying about how "women who talk bad about me are bad women" yet, she never really does or says anything actually feminist. In fact, most of her music, like I said above, reinforces the patriarchy. She herself is guilty of so much slut-shaming, too. I will go into detail, with a real argument, in a separate post soon. And I thank you for pointing out the weaponized sexuality aspect of her, often, overtly patriarchal tone.

BTW- "ME!" is Such a weird song -> "I know that I went psycho on the phone" uhh... excuse me?

[the-cards-she-wont-show]

And so I enter into evidence

File #31 - Flagging

❤️🧡💛💚💙💜

Eras Tour Outfit - 1989

First night in Stockholm

Swifties: It’s the Swedish Flag colours! 🙌

Second night in Stockholm

Swifties: What do those colours mean??? 🤔

Gaylors: It’s the Lesbian Flag colours! (again!) 😍

Taylor: “Lookin’ backwards might be the only way to move forward”. “None of it was accidental”. 😏

Swifties… are you ready for it? Taylor WANTS us to know that she is dressed in the colours of the Swedish flag! It is an Easter egg for us to read into what the following night’s outfits may mean. By doing this, we are looking into the past, to assist in deciphering the now. And only then, can we see the bigger picture.

Queer flagging has been around for decades as a way of signalling our sexuality to other queer people without fear of judgement and to keep us safe. There are many ways in which this can be done and this is just one Taylor’s most obvious examples.

If you take a close look at her visuals, you will notice that the shades of the lesbian flag ❤️🧡🤍💗💜 are used together quite frequently, especially during the Eras Tour!

❤️🧡💛💚💙💜

[taylorsmidnights14]

To me it's the fact she deliberately sang her heart out, her fears, perceptions, anger and deceptions.

But what strikes me the most is that, despite everything, she's now left it all behind. She went through the stages of grief, accepted the story as it was, and now she's leaving everything behind.

It's done, it's not something she can change, and she's ok.

And so the healing begins.

[buttacake80]

📣 And this muthafucka 📣

That is what Kamala wanted to say, but she's a Black woman, and the expectations of decorum and professionalism are much higher for her than Trump.

Numerous instances during the debate, Trump spoke over the muted microphone 🎤. And the moderators allowed him multiple times to address the question he PREFERRED to address rather than the question posed him.

They did not extend that same privilege to Kamala.

Women are expected to concede space to men. To center their grievances over our own. And, for Black women, there is an even bigger expectation that we are subservient to everyone else.

Any Black professional woman of a certain age knew and felt that moment when Kamala adjusted her strategy.

📣 She couldn't cut up in front of the white folk. 📣

She quieted & allowed the moderators to do their job because if she had broken character, like Trump was permitted to, she would have become the Angry Black Woman.

I know that feeling so very well.

Plenty of times, I have been the smartest and most competent person in the room, yet all the white folk deferred to the loud, boisterous white man with the Ivy League degrees. They'd blame "facial expressions" or "defensiveness" as reasons why I couldn't lead. No substantial criticism of my work; just that I was "difficult" to work with because I made them uncomfortable with my competency.

A white man can be assertive. A white man can look you in the eye. A white man can grasp your hand firmly in a handshake. A white man can command a room. A white man can claim the seat at the head of the table.

But, a Black woman who exhibits such behavior is difficult to work with because she refuses to play into white gender roles.

Did anyone else catch when Trump even said, "quiet woman" or something like that?

I love that moment when white men reveal their fear. Their vulnerability and insecurity.

The reason white men hate Black women so much is that they know the stereotype they created for us is actually the archetype of the *men* they aspire to be.

Not only could Kamala meet his energy, she would have done it in a far more entertaining way, but she chose not to. And that was purposeful.

I think it’s something unique to Black Gen X women.

Our parents were the kids of the Jim Crow Era. Our parents attended segregated schools. Our parents sat at the back of the bus.

Our grandparents survived race riots. They survived lynchings and ethnic cleansing of entire Black communities.

So, we carry their scars. Like they were fresh to us.

But, we were going to school in the 70s/80s/90s when schools are desegregated, but there were still policies and laws that discriminated against women & girls.

So, we grew up punching little boys just so we could play on the tetherball, too.

And as a little Black girl, I punched a whole helluva lot of white boys who got in my way of the tetherball.

[glittercatsandtaylorswift]

TORONTO NIGHT 1

GOLD REPUTATION 🖤🖤

[letters-adressed-to-the-fire]

so this is why i think peter is the one looking in people's windows

A few days ago, I saw a swiftie on TikTok talking about how I look in people’s windows could be taken as the other perspective of the same story narrated in Peter, and I just couldn’t stop thinking about it. So, I decided to go in-depth and start a self-assigned quest to look for any clue that could interweave these two stories in a way that made sense.

I know this could sound a little absurd or could be taken as a stretch of some sort, but I believe, and I’m sure most of her fans would agree, that most of the beauty in Taylor’s writing comes from the countless different interpretations people bestow on her lyrics. I’m not asking you to take this analysis as absolute truth because I’m genuinely just having fun with it, and I hope you do too.

I’ll analyze “I look in people's windows” from Peter’s point of view and “peter” from the other character’s pov, whom we’ll call Wendy given the obvious parallelism to Peter Pan.

Well, the main and obvious connection is given by the “window” element. While Wendy is waiting for Peter by the window, Peter is looking for her from outside that window. If you look at this through very literal and rational eyes, I believe you’d think it doesn’t make sense that they were both looking for each other through the same window but never met again. So HERE is where I want to insert my interpretation.

There are two options I can think of that would explain the failed meeting. 

Peter intentionally avoided Wendy while still looking for her every day.

Every time they were looking for each other, it happened at different moments.

The first case presents a lot of questions, like, is the pledge to grow up what is stopping Peter because he knows he can’t do it? Or was he cruel enough to wait for Wendy to move on and then come back? Either way, the conclusion remains the same. In this scenario, Peter was a coward. If it was because he didn’t want to grow up, if it was because he just wanted Wendy to never move on, or if it was because he never gave her a real answer.

On the other hand, the second case talks about something that’s closer to a tragedy. They were always doomed by the narrative. While Wendy was waiting for him, Peter was looking for her, but Wendy never saw him—not when she waited or when Peter was looking for her. We would need to assume some things here tho. Either it all comes back to the first option and Peter had been avoiding her the entire time, or he thought she had already forgotten about him. The first option shows us, once again, that Peter is a coward, but the second one also tells us something important: he may be too scared to grow up, but he’s not selfish enough to stop her from moving on.

“Northbound I got carried away As you boarded your train South, south, south, south, south, south A feather taken by the wind blowing I'm afflicted by the not knowing so”

Based on this verse, we can design a new theory. He watched her leave and he was aching for her to come back to him. So he started looking for her in other people’s windows, wondering if one of them was gonna be her. Even when he had already said goodbye to her.

And here’s where another verse of peter will acquire significance:

“I thought it was just goodbye for now”

With both songs in mind, it sounds like he said goodbye to her, hoping they were gonna see each other again, but he also knew he had to let her go at the time and that he was condemned to miss her. But what Peter didn’t know was that Wendy was gonna go through the same thing, but she wouldn’t have the comfort of knowing what he did (wait for her).

“promises oceans deep, but never to keep”

This is why we get two completely different endings for both songs. While Peter is still addicted to the what-ifs, Wendy has turned off the light; the fantasies have expired for her. Wendy grew up; Peter didn’t. While I look in people's windows gives you the feeling of being running from house to house in a neighborhood you don’t recognize anymore, trying to fit into a routine you were used to in the past; peter reads like the last chapter of a book you’ll never touch again.

[supersapphicsimp]

alchemizing a new american dream

(a gaylor theory)

did you know a rumor among immigrants in the 1800s was that American streets were paved with gold? whether they meant it literally or it was just a shared expression, the phrase represents this idea that the nation was filled with endless hopes and dreams, opportunities, a chance at a better life. but this dream is one that has also been tied to over-idealizing material wealth.

the original wizard of oz by l. frank baum was published at the end of the Gilded Age, which was an era of hyperinflated artifice and material wealth that helped create the conditions for the great depression. economic catastrophe. the oz book is thought to be an allegory for this, with the yellow brick road representing the gold standard of currency that was used at that time, the original silver shoes representing the populist ideal to bring back a silver standard, and the green of oz representing fiat currency. but ultimately all of these things and oz itself are just artifice, and in the same way, the american dream has always been a false ideal and illusion—one that we are watching shatter and crumble around us in real time.

taylor’s american dreams

taylor has referred to the american dream either by name or allusion frequently. here are some notable examples:

• Fresh Out the Slammer:

“Now pretty baby, I’m running back home to you…to the house where you still wait up and that porch light gleams, to the one who says I’m the girl of his American dreams. And no matter what I’ve done it wouldn’t matter anyway, ain’t no way I’m gonna screw up now that I know what’s at stake here…”

• King of My Heart:

“Salute to me, I’m your American queen [original lyrics: salute to me like the American Dream] and we rule the kingdom inside my room…King of my heart, body and soul…And all at once, you’re all I want, I’ll never let you go….”

these are her only two songs that directly invoke the phrase “american dream” (though in KOMH it’s in the original lyrics but it still counts imo) but it’s important to know it’s not THE american dream. in KOMH she’s comparing herself to her muse’s version of the american dream. the same is true in FOTS. the one of his american dreams. FOTS and KOMH represent taylor’s ideal of her authentic american dream, which subverts the concept of the american dream = material wealth. KOMH is about her giving up “fancy stuff” for true spiritual wealth, and that’s what’s she’s running home to.

• Miss Americana & the Heartbreak Prince:

“No cameras catch my pageant smile…And ran for my life…voted most likely to run away with you. And I don’t want you to go, I don’t really wanna fight, cause nobody’s gonna win, I think you should come home…And I’ll never let you go cause I know this is a fight that someday we’re gonna win, just thought you should know.”

• Midnight Rain / High Infidelity

“My town was a wasteland…Full of cages, full of fences, pageant queens and big pretenders, but for some, it was paradise. like a postcard…pcture perfect, shiny family, holiday, peppermint candy”

“Your picket fence is sharp as knives, I was dancing around, dancing around it”

these three songs depict taylor’s struggles with the mainstream/culturally dominant ideal of the american dream and how it feels like a battle, a fight for her life, and ultimately something she decides she has to leave behind. these three songs also are all examples of the dynamic of duality that is present in much of her recent work: brand taylor vs real taylor, miss americana and the heartbreak prince, and they have to come together again for her new american dynasty to begin. MAATHP always sort of sounded like a duet in how she sings it, like the person calling her to come home is the heartbreak prince, and the person who ran for her life and was scared but won’t ever let the other go because she knows one day they’ll win is miss americana. so when miss americana comes home, she’s coming home to the heartbreak prince’s american dreams. midnight rain is another clear example of her duality bc it has taylor literally singing in two pitches, having jack warp her voice to sound masculine. and high infidelity seems like it addresses two different factions of her fanbase, and the regret caused by her “bending the truth” too far.

• lyrical connections: “i’ll never let you go” in both KOMH and MAATHP and “pageant (queens)” in both MAATHP and high infidelity

• The Last Great American Dynasty

this song fully subverts the over-romanticized ideals of the american dream. what’s more of an american dream than an american dynasty? but rebekah rebukes it—she doesn’t just reject it. she ruins it. she ruins everything, and she has a marvelous time while she does it, being the loudest woman the town has ever seen. obviously in the end, taylor becomes rebekah. she identifies with her gleeful destruction of sacred, repressive institutions, expectations, traditions, and standards.

then along comes the tayvis circus. the comparison makes itself on a daily basis with no effort; i constantly see tweets describing the two of them as “american royalty.” the persona that taylor takes on in the context of this stunt represents the epitome of “Miss Americana” the idealized american dream. that’s why so many gaylors were averse to the tayvis spectacle from the start—we knew the kind of discourse it would encourage, and it’s exactly the kind of discourse you would expect from a narrative that encouraged returning to “comforting traditional american values.”

but taylor is rebekah. taylor is going to have a marvelous time ruining everything, too. she’s going to have a marvelous time tearing down their ideal of the last great american dynasty. those are her stakes! and she warned us all, so many times:

after taylor removed TLGAD from the set, she played it exactly twice in the surprise song set. once to announce she is running, leaving behind the traditional image of the american dream that doesn’t suit her, and begging her fans to still want her when she’s not their shining mirrorball anymore;

and once to reclaim her vision for the american dream and declare her choice, to rebuild her american dynasty, and to explain why she had to do what she did. and that she doesn’t regret it. it just felt so good (ruining everything).

and the show immediately after the first time she sang TLGAD with Run, she played these:

laying out her vision of what her (well technically his but he is the heartbreak prince who is also taylor so) american dream looks like, of what exactly she’s running back home to. and it’s… gay as fuck. girl, you’re running back home to emily dickinson’s fuckass stone ivy cottage to be with your lesbian lover and they can call it what they want bc no one knows you like yourself? i know that’s right.

a few more crazy little details that must be documented:

• 7/24/24: There's a chain 'round your throat, piece of paper where I wrote, "I'll wait for you". There's a key on the chain, there's a picture in a frame. Take it with you and run, run from the law, darling, let's run, run from it all.

• 7/27/24 (the next show): “and he keeps the picture of you in his office downtown, and you understand now why they lost their minds and fought the wars. now, pretty baby, I'm running back home to you, true love…I'm running to the house where you still wait up, and that porch light gleams. // I want to wear his initial on a chain 'round my neck, chain 'round my neck, not because he owns me, but 'cause he really knows me, which is more than they could say, I. I recall late November, holding my breath, slowly I said, "You don't need to save me. But would you run away with me?" Yes. So yeah, it's a fire, it's a goddamn blaze in the dark, and you started it. You started it. So yeah, it's a war, it's the goddamn fight of my life, and you started it.

• the first time she played TLGAD was with Run, a song that mentions a key on a chain. the second time she played it was in Ours x TLGAD, and she had one of her famous glitches. she started to play and then stopped and said, “that’s the wrong key Um, so wish me more luck than that.”

• the day after the first time she played TLGAD with Run, she played FOTS x This Love and ivy x CIWYW. before she sang ivy, she hit the note off-key (it sounded super on purpose), then said “well. sometimes you just don’t hit the right note, do you?”

• the first “great american dynasty” is the vision of the american dream she’s running from bc it’s “the wrong key,” the wrong note. she’s running back home to her own vision of the american dream, using performance art to physically represent her intentionality in making the different choice this time, in hitting the right note. and this love is ours, so you can call it what you want. it’s not theirs to speculate if it’s wrong 💞🌈 and they can’t take what’s ours

for evermore 🤎

[redroses07]

Just told my situationship I couldn’t go out tonight cause I needed to watch Taylor Swift at the Grammy’s…I wonder why I’m single.

[folksyswift]

My favorite Easter Egg of Taylor Swift is that she put a Slaughterhouse 5 (a book about PTSD from war) reference in Rep. when someone dies in the book the narrator says “so it goes…” and after Taylor says the old Taylor is died the next song is “So It Goes…”