Deep Dive — The Life of a Showgirl by Taylor Swift
- kmilatos165
- Dec 7, 2025
- 21 min read
Taylor Swift’s ‘The Life of a Showgirl’ was a highly anticipated album as enticed by dynamic visuals and off the tails of the record-breaking global ‘Era’s Tour’. As revealed by Swift and as indicated by the key collaborators (Max Martin and Shellback), on this project, this album would incorporate the infections melodies present in her 1989 and Reputation albums with the lyrical complexity of her pop folk albums Folklore and Evermore. The album visuals created a clear aesthetic identity for this era, with the title indicative of the classic Burlesque era of ‘showgirls’, with Swift noting that the album would reflect her experiences behind the scenes of her tour. Performance is a key element of the life of any showgirl, however Swift honed in her focus on some of the more personal aspects. What do performers think about after the show, when all the lights, glitz and glamour are stripped away, and you are left with just the person. The key expectations before examining the album were that, as with her history with the aforementioned collaborators we would experience snappy tracks that have crisp production and a radio friendly singability with less of an emphasis on lyrics as Swift noted that this album was created during the European leg of the tour. With less time to craft this album, did she release it too soon?
Upon initial listen the album didn’t contain a particular stand out track but as with the music listening and analysis process some pieces of work require time to sit with the listeners to resonate. Further review allowing for appreciation for the superior production across most tracks on the album. Despite the astronomical success of the tour, a throughline within this album is a tone of self-reflective doubt in relation to career and general personhood. With this being said, mirroring her personal life at the time, Swift revels in the highs of a new love and relationship. With her closing statement and overall thesis frankly and adamantly lamenting that her fans and anyone who listens to the album that they truly will never know ‘the life of a showgirl’ with the experience being unique to those in the industry.
Tracklist Review:
The lead single ‘The Fate of Ophelia’ is based on an interpretation of the Shakespearean character Ophelia in the play Hamlet. Swift reimagines the character narrative and ending with Ophelia in Hamlet doomed to a cruel and violent end at the hands of the men in her life, whereas Swift’s reimagining draws parallels between herself and Ophelia with her treatment by Male higher ups in the industry and previous relationships to then reveal to the listeners that her current support network ‘saved her heart from the fate of Ophelia’
The reimagining of a character or narrative created by Shakespeare is something that Swift has successfully accomplished in the past with her song ‘Love Story’ off her second studio album ‘Fearless’ where she creates a hopeful ending for Romeo and Juliet.
Sonically this track eases listeners into the narrative through light percussion and sparce piano. Once Swift begins to sing a groovy baseline appears, creating a punchy accent to her drawn out phrasing and narrative delivery. Moving into the second verse and onwards, Swift’s vocals are layered more liberally creating more of an emphasis on the importance of her relationship and her sense of safety in that relationship (as juxtaposed by the fate experienced by Ophelia in Hamlet). The vocal layering act to create a dreamy intoxicating feeling, like the early stages of falling in love. Her sense of safety in the relationship is further emphasised when she sings;
“You wrap around me like a chain, a crown a vine
Pulling me into the fire”
Between each descriptor of how she feels comforted, Swift employs the use of a double clap. This reiterates the dynamics of the relationship whilst revealing to the listeners that this relationship was unexpected.
Lyrically, Swift combines older language as aligned with the Shakespearean narrative and modern phrases common in the 21st century as a way to bridge the understanding and relatability between current listeners and the Elizabethan English used by Shakespeare. This blend adds to the parallel Swift strongly alludes to between her lived experiences and that of Ophelia.
“’Tis locked inside my memory
And only you possess the key
No longer drowning and deceived
All because you came for me” x2
Despite the upbeat nature of this track, Swift reveals that prior to this person entering her life, she was experiencing mental and emotional turmoil, a parallel to the anguish experienced by Ophelia.
As this track is the lead single, a music video was released for this song with Swift directing the audience through key decades and eras of Showgirls, starting and ending with a visual homage to the 1850’s painting by Sr John Everett Millais, (the most famous visual interpretation of the character from the play). As touched on earlier the fun and dynamic visuals of this album and corresponding music video parallel, if not slightly outshine the vibrance present throughout this album. It could also be interpreted that the main album cover is a modern interpretation of the Everett Millais painting, another way Swift parallels her experiences with that of Ophelia.
The second track on this album makes clear reference to a widely known ‘showgirl’, actress Elizabeth Taylor. To align with the grandeur and opulence associated with Elizabeth Taylor, this track rightfully includes a string section. Swift builds on this impression by making key references to locations and items associated with Taylor an icon of popular culture associated with wealth, opulence and diamonds.
In the first verse and moving into the pre-chorus, Swift employs a gentle and vulnerable tone, with concern that her new partner will be like the others and not be able to withstand the demands of her very public life.
“All the right guys promised they'd stay Under bright lights, they withered away But you bloom”
With a jolting shift from the pre chorus into the chorus Swift employs a powerful baseline to emphasise how disastrous the ending of this relationship would be for both parties involved. Though this track is masked in the obvious comment on her new relationship, Swift injects commentary on the state of the music and wider arts community when she notes (rather tongue in cheek),
“Be my NY when Hollywood hates me You're only as hot as your last hit, baby”
An inditement of the carnivorous nature of parasocial relationships, stardom and the pitfalls of public perception when you reach the intergalactic heights that Swift has in her respective artistic field.
The bridge, as with many of Swifts tracks holds the core thesis of what she is attempting to convey with this track.
“(Ah) All my white diamonds and lovers are forever (Ah) In the papers, on the screen, and in their minds (Ah) All my white diamonds and lovers are forever (Ah) Don't you ever end up anything but mine”
The grand, full and explosive production in the chorus feels like a reclamation of self. At several points Swift juxtaposes her vocal delivery and production with her lyrical content. This contrast leaves listeners with the impression that what Swift is revealing may not be a revelation at all and merely another piece that cultivates her image. Because of its clear reference to popular culture this track ultimately faces a mirror to listeners and asks us to reflect on how we’d describe well known showgirls and how media coverage propagandises and manipulates the wider public against women in the industry.
The track Opalite has a title that is in reference to the man-made stone with an iridescent quality. As with the man-made quality of this stone Swift noted that the brightness of the stone can parallel making your own joy and bringing your own lightness into your life. Akin to the iridescence of the stone, this song has an upbeat, whimsical, Christmas adjacent quality to its production. As with previous tracks within Swifts discography, most notably ‘Daylight’ from her Lover album and common throughout musical and literary history, Swift touches on the themes of light and dark to contrast previous sadness or depression with a lighter and more joyful life experience. The culminating message of this track is surrounding the importance of support from the relationships in our lives, both familial and romantic and how within those relationships we have to actively seek out and make our own happiness. The track opens with gentle strumming guitar, warm and inviting and becomes bolstered by bass that creates an almost 70’s style groove linking this track sonically with tracks 1 and 2.
“But my mama told me, "It's alright You were dancing through the lightning strikes Sleepless in the onyx night But now, the sky is opalite, oh-oh, oh, oh, oh Oh, my Lord Never made no one like you bеfore You had to make your own sunshine But now, the sky is opalite, oh-oh, oh, oh, oh, oh"
The chorus exemplifies the thesis of this track with the imagery created by Swift of ‘dancing through lightening strikes’ evokes a sense of moving joyfully through times full of hardship. As Swift references Shakespeare earlier in the album (Hamlet), we could also infer that her use of storm imagery is akin to Shakespeare's use, a common dramatic device used across his writings to represent inner turmoil. Swift furthers this exploration of weather as a device to symbolise personal hardships in the bridge.
“This is just A storm inside a teacup But shelter here with me, my love Thunder like a drum This life will beat you up, up, up, up This is just A temporary speed bump But failure brings you freedom And I can bring you love, love, love, love (Love)”
The drawn-out almost strained phrasing in the bridge and use of vocal layering and harmony to emphasise the repeated words reinforces to listeners that the best way to navigate hardship is through connection and support. She is not only primarily imploring her partner to take note of this key lesson, but it also serves as a reminder to herself and listeners. Though this track has not been released as a single, its catchy melody has garnered it similar radio play to the only official single at this time, ‘The Fate of Ophelia’. With this in mind, we could speculate that this will likely be the next single released during this album rollout.
Father Figure is an interpolation of George Michaels song of the same name and is most apparent in the chorus of this track. Upon release of the album, it was made explicitly clear that Swift and her team asked his estate for permission and received it. Sonically this track is propelled by percussion and an undercurrent of synth. Interestingly, the production and instrumental choices mirror Michael's track with both songs including piano, acoustic guitar and synthesisers. This track could be interpreted as being a multi perspective narrative between Swift and the higher ups who sold her master's without her consent and the ultimate victorious outcome of Swift being able to afford to purchase them back as a result of the success of her Era’s tour. The lyrical tone throughout is reminiscent of a mafia boss, especially in the post chorus and the bridge, particularly in the threatening whispered final line of the bridge below.
“Leave it with me, I protect the family I saw a change in you (I saw a change, saw a change in you) My dear boy They don't make loyalty like they used to (Not like they used to) Your thoughtless ambition sparked the ignition On foolish decisions, which led to misguided visions That to fulfil your dreams You had to get rid of me I protect the family”
Establishing herself and presenting herself in a masculine parental role is less about gender and more to imply a facet of Swifts being, her strategic business minded facet that she explicitly introduces to her listeners in her Lover Album on the track ‘The Man’ which highlights the hypocrisy faced by women in the industry and how media perception would display her decisions and music in a more celebratory light if she were a man. In line with this rhetoric Swift interpolates Michael's track an act which infers context from the predecessor track. Unlike with Michael’s track, a song that examines intimate relationship dynamics and the want to be a protective and nurturing figure in a romantic relationship; Swift parallels the dynamic to reflect her business savvy and almost ruthless pursuit of a capitalistic optimum. We could infer that, since Swift has been in the industry now spanning two decades, her business mindedness and strategy permeates every aspect of her life including personal relationships.
The nexus of this track culminates in the repeated phrasing present throughout the track and particularly emphasised in the post chorus;
“This empire belongs to me Leave it with me
I protect the family Leave it with me I protect the family Leave it with me”
The empire in question could be interpreted as her legacy as an artist and businesswoman, with the ‘family’ being her master's that she was able to reclaim. Unlike in her track ‘The Man’ Swifts language is more didactic reflective of her more solidified presence in the industry. Unlike most of her discography, this track includes expletives, which we could infer adds an emphasis and gravitas to her messaging. Ultimately, the initial analysis was clouded by an existing affinity for the George Michael track which made Swifts attempt slightly underwhelming, but with further analysis the motivation for her interpolation became clearer. Compared with several of the other tracks on the album this melody does not serve the purpose of radio friendly ear worm and therefore is one of the lesser regarded tracks on this album.
Swifts track five, Eldest daughter is a revealing and, in some part, vulnerable confession and rumination on relevancy. At what point will she become too old or too cringe for the public to support her musical endeavours? The song is rife with ‘outdated’ or ‘cringy’ language. The use of this outdated or ‘cringy’ slang to create a visceral reaction done purposefully. As the eldest millennial daughter, she laments at her extreme efforts to stay relevant or be perceived as ‘cool’ to no avail. She demonstrates her feelings of being ‘behind the times’ and out of step with the current generation, this is particularly present in the pre-chorus and chorus.
“I have been afflicted by a terminal uniqueness I've been dying just from trying to seem cool But I'm not a bad bitch And this isn't savage But I'm never gonna let you down I'm never gonna leave you out So many traitors Smooth operators But I'm never gonna break that vow I'm never gonna leave you now, now, now”
The fear of remaining relevant can be seen as particularly pertinent for women in the music industry as their popularity is often linked with their youth and beauty. This message is reinforced by Swifts gentle vocal delivery, with her expression mainly remaining in her head voice, creating a sense of vulnerability. This is also paired with piano used throughout clearly presenting this track as a ballad. The self-reflection and ruminations about the public's perceptions of her and being held to a certain and at times unattainable standard reflects the way many eldest daughters navigate through the world. The over inflated sense of responsibility and people pleasing tendencies not only reflect the way Swift is with her own younger sibling but her persona as a pop star is almost like a ‘bigger sister’ to many of her fans. Despite harsh criticisms Swift assures listeners that she will remain steadfast with her sentiments in the chorus mirrored in the outro. Almost like an exasperated ‘I’ll stay as long as you’ll have me’.
Sonically this track has a light-hearted feel with a groovy baseline. Swift paints a clear image of a snapshot in her personal history during her high school days. As aligned with the overall concept of what a showgirl contemplates / ruminates about after the show, Swift reminisces about an old friendship. With her recitation of the biographic experience to serve as the larger lesson being to ‘take a chance’. Late night contemplations of regret delivered in a playful yet vulnerable and wispy vocal delivery throughout most of this track, creating the same uneasiness Swift feels in her regret of not being honest or in her words ‘ruining the friendship’.
Swift repeats the regretful sentiment throughout the track,
“Should’ve kissed you anyway”
Eliciting a similar feeling to the expression ‘What if’
Instrumentally, in the latter half of this track, there is a shift to descending minor notes, reflective of the heartbreaking reveal in the third chorus of this track.
“When I left school, I lost track of you Abigail called me with the bad news Goodbye And we'll never know why”
Amongst the backdrop of many happier and more upbeat tracks on this album, Swift reminds us that even in our happiest life moments, regret can find a way to root itself in our minds and appear during silent contemplations.
Sonically, Actually Romantic borrows from the punk pop of the early 2000’s, reminiscent of Weezer and the Pixies, rife with guitar reverb. This associated attitude and rebellion perfectly matches the snarky tone and sarcastic line delivery throughout this track. Swift encapsulates the bratty essence of a petulant teenager which is something she delved into in her Speak Now album on the track ‘Better than Revenge’. As sort of snapping point where Swift retaliates with the same gusto as the person or people who she is singing about. This track is a fun, sarcastic poke at those who can’t help but speak badly about Taylor Swift, present throughout this track but particularly pronounced in the second verse leading in the chorus.
“Hadn't thought of you in a long time But you keep sending me funny valentines And I know you think it comes off vicious But it's precious, adorable Like a toy chihuahua barking at me from a tiny purse That's how much it hurts How many times has your boyfriend said "Why are we always talking 'bout her?" It's actually sweet All the time you've spent on me It's honestly wild All the effort you've put in It's actually romantic I really gotta hand it to you, ooh No man has ever loved me like you do”
The crux of this track is turning the experience of being gossiped about into a sort of superpower and feigning flattery at being insulted. The thesis of this track can be summed up by the bridge which is accented by layered chanting vocals present across the subversive lyrics that are expressing flattery despite harsh judgements to the point where Swift uses terms usually reserved for romantic relationships.
“You think I'm tacky, baby Stop talking dirty to me It sounded nasty, but it feels like you're flirting with me I mind my business, God's my witness that I don't provoke it It's kind of making me wet (Oh)”
The last line of the bridge not only being shocking and explicit in terms of Swifts broader discography but is also accented by a deliberate use of guitar feedback a popular feature of early 2000’s punk pop.
With this songs nostalgic influence and cheeky pokes at the ‘haters’, Swift cleverly reclaims the negativity by reframing it to be considered from the perspective that it’s ‘actually sweet’ that this person or group of people utilise so much of their time and energy focused on you.
As reflected in the title of this track, before we even listen to it, we can assume the use of dollar signs in place of the letter S imply this track will touch on things of monetary value, with a ‘wish list’ often being items or experiences of some expense. Throughout this track Swift lists of items of great value and goals that many people may have that are related to opulence. She does this in recognition of goals of an everyday person but to also juxtapose it to her own personal goals or Wish list. As Swift has reached an unimaginable level of career success her goals have now shifted to things attributed with a ‘quieter life’, marriage, children and time away from public scrutiny and the press, particularly present in the pre-chorus and chorus. This track could be seen as a love letter to her current partner. As this album was written and produced during the Era’s tour we can contextualise Swifts line of thinking with one of her many post -show daydreams being of a life that at the time was so far removed from her reality, a longing or wishing for something antithetical to our current experience is something common to the human condition.
“They want that yacht life, under chopper blades They want those bright lights and Balenci' shades And a fat ass with a baby face They want it all....
And they should have what they want They deserve what they want Hope they get what they want I just want you, huh Have a couple kids, got the whole block looking like you We tell the world to leave us the fuck alone, and they do, wow ....”
Swift monopolises the entire pre-chorus to explicitly note that she hopes anyone with the wishes on their own personal wish list she has mentioned ‘get what they want’. Whether we can ascribe it to lazy writing or perhaps and overcorrection with Swift feeling the need to over-explain that she hopes the best for others since in the past her words could have been taken out of context? The vocal delivery throughout the chorus is as passionate as her lyrics robustly infusing an impression of devotion and ‘true love’ into this track.
A personal longing and thematic through-line within Swift’s broader discography was the idea of finding ‘the one’ and having a family, this sentiment is not new for anyone who has listened to her music more broadly. Prior to her current relationship, a track from her previous album that encapsulates this sentiment is titled ' The Prophecy’ from her album The Tortured Poets Department. With the bridge of this track seeming like a continuation of the sentiments expressed in ‘The Prophecy’.
“I made wishes on all of the stars Please, God, bring me a best friend who I think is hot I thought I had it right, once, twice, but I did not (I did not) You caught me off my guard I hope I get what I want (Get what I want) 'Cause I know what I want”
Despite its often times clunky delivery and somewhat tone-deaf subject matter within the current social and economic context for the everyday person, the overall expression of devotion to a person we perceive as ‘the one’ is a common lived experience and one that many can relate to.
Initial sonic impressions of ‘Wood’ are that it creates strong associations with The Jackson 5, particularly their song ‘I want you back’. A strong late 60’s and 1970’s style groove akin to Motown, with many arguing that it is an interpolation of that track. With this sonic foundation in mind, listeners are set to experience a fun, upbeat narrative. Of all the tracks on this album, this thematically seems like the least complete with Swift beginning that track making references to different acts of superstition and finding luck such as ‘knocking on wood’ to later devolved into expletive metaphors and inuendo about her intimate relationship with her partner.
“Daisy's bare naked, I was distraught He loves me not He loves me not Penny's unlucky, I took him back And then stepped on a crack And the black cat laughed And, baby, I'll admit I've been a little superstitious (Superstitious) Fingers crossed until you put your hand on mine (Ah) Seems to be that you and me, we make our own luck A bad sign is all good, I ain't gotta knock on wood”
It also seems like Swift wrote without clear narrative direction in mind which she is usually regarded for. The only thing connection that could be made between the first and second half of this track is the overarching concept of being ‘lucky’ or ‘unlucky’ in love. If you are the kind of person who enjoys modern music with a nostalgic retro influence and are more likely to focus on a song's melody rather than lyrics, this track is fun. For those who listen to music and take in ‘the full picture’ this song has a disjointed quality to it, an aimless divergence of narrative that discards the concept of superstition by the end of the track all together.
Being cancelled is internet terminology for ‘holding someone accountable’. The purpose is to potentially even end someone’s career; the ‘death’ of someone's career. Swift uses metaphors linked with death as an overly dramatised depiction of the impacts of that ridicule. By having a track under that name, we can make a clear link to the time in Swift’s history where she was ‘cancelled’ by the internet and major media publications. Swift uses this track to reflect on that last time she went on a large stadium tour and what the public perception was of her then despite her being wrongly ridiculed and later exonerated.
“You thought that it would be okay, at first The situation could be saved, of course But they'd already picked out your grave and hearse Beware the wrath of masked crusaders”
Sonically this track borrows from her Reputation album, which is edgier and utilised more bass overall, inspired by the RnB and trap genres. She uses her lived experience in the music industry as a woman to highlight the double standard women are held to in comparison to their male counterparts who in some cases have committed atrocious things or even been convicted of crimes and still have blooming music careers.
“It's easy to love you when you're popular The optics click, everyone prospers But one single drop, you're off the roster "Tone-deaf and hot, let's fucking off her
Did you make a joke only a man could? Were you just too smug for your own good? Or bring a tiny violin to a knife fight? Baby, that all ends tonight”
And so, with that context we can determine that Swift expressing that she likes her friends ‘cancelled’ is a sarcastic dig noting her female friends may have been ‘cancelled’ over minor things or ridiculed over something false compared with how ineffectual it is when applied to men. Swift highlights the voracity in which the public seek to tear women down. As with many tracks within Swifts discography, she imbues the narrative with a blend of her own lived experiences and that borrowed from those around her, the literature and other media she consumes. This bolsters how comically dramatised this track is, particularly evident in the chorus and bridge.
"Good thing I like my friends cancelled (Cancelled) I like 'em cloaked in Gucci and in scandal (Yeah) Like my whiskey sour, and poison thorny flowers (Honey) Welcome to my underworld, it'll break your heart At least you know exactly who your friends are They're the ones with matching scars They stood by me before my exoneration They believed I was innocent So I'm not here for judgment, no”
This theatrical track serves to deliver some truths about the almost mob like mentality many people exhibit online, their swiftness to make judgements without proof and how this disproportionately impacts women in the entertainment industry.
Honey shifts the focus back to Swifts experiences with love and relationships more broadly and sonically borrows several elements from 2000’s RnB. She makes comparisons with how she has been treated in previous relationships and how the term ‘honey’ and other pet names used to come across as demeaning, whereas now it’s utilised and accepted as a term of endearment.
“When anyone called me "sweetheart" It was passive-aggressive at the bar And the bitch was telling me to back off 'Cause her man had looked at me wrong If anyone called me "honey" It was standing in the bathroom, white teeth They were saying that skirt don't fit me And I cried the whole way home But you touched my face Redefined all of those blues when you say "honey"
Summertime spritz, pink skies You can call me "honey" if you want because I'm the one you want Wintergreen kiss, all mine You give it different meaning 'cause you mean it when you talk Honey, I'm home, we could play house We can bed down, pick me up Who's the baddest in the land? What's the plan? (What's the plan?) You could be my forever-night stand, honey”
The decision to shift toward the RnB genre could be attributed to the fact that both her, and her partner grew up at a time where RnB was at the forefront of upbeat and passionate music about love and relationships that weren’t exclusively ballads. It’s a nod to the kinds of relationships Swift likely grew up admiring and wising for herself. This track highlights the importance of intentionality when referring to another with a ‘nick name’ or term of endearment. How we refer to the ones we love is a vital aspect of how we cultivate relationships.
![Taylor Nation [@taylornation] "Sydney you were something else..." Instagram. Feb.2024. https://www.instagram.com/taylornation/?hl=en](https://static.wixstatic.com/media/47b781_163a281929f542d7a0072052cb1e04bb~mv2.webp/v1/fill/w_980,h_653,al_c,q_85,usm_0.66_1.00_0.01,enc_avif,quality_auto/47b781_163a281929f542d7a0072052cb1e04bb~mv2.webp)
The final track and only musical collaboration on the album encompass the key thesis of the entire album. Reminiscent of some of Swift’s other work such as ‘The Last Great American Dynasty’ off her album Folklore; Swift expertly navigates listeners through her experience of being outside of the ‘exclusive club’ that is the showgirl life wanting to be a singer and expressing admiration to a veteran of the industry.
“I waited by the stage door, packed in with the autograph hounds Barking her name, then glowing like the end of a cigarette Wow, she came out I said, "You're living my dream" Then she said to me "Hеy, thank you for the lovely bouquet You're sweeter than a peach But you don't know the life of a showgirl, babe And you're never ever gonna Wait, the more you play, the more that you pay You're softer than a kitten So you don't know the life of a showgirl, babe And you're never gonna wanna"
The quasi-autobiographical elements present in the song shift from Swift’s perspective to Carpenter's through the verses similar to their experiences entering the ‘showgirl status’ of the entertainment industry ten years apart due to their difference in age. From the second verse onwards, Swifts and Carpenter’s vocals are blended together in this united sentiment that unless someone breaks into the entertainment industry and has first-hand experience, they won’t understand the trials and tribulations unique to those who would have ‘showgirl’ status. The slide guitar, synthesizers and strings really pull this messaging together. As with the entertainer that Swift proclaims is ‘living her dream’, each generation of showgirl seems to warn their predecessors of the hardships involved since most people only see the glitz and glamour.
“"Thank you for the lovely bouquet I'm married to the hustle And now I know the life of a showgirl, babe And I'll never know another Pain hidden by the lipstick and lace (Lipstick and lace) Sequins are forever And now I know the life of a showgirl, babe Wouldn't have it any other way" (Wouldn't have it any other way)”
The track closes with what sounds like live audio from a concert where Swift and Carpenter are closing out a show, (thanking the band and each other along with the crowd), which seems like a fitting non- instrumental inclusion to conclude this album as it was written and produced whilst on tour.
Closing thoughts:
To conclude, some elements of this album came across as clunky or not fully thought out. Perhaps if its release had been delayed slightly allowing for further crafting or collaboration to invite new ideas the album could have been executed more completely. Despite its at times conceptually clunky premises, many of the tracks were quintessential pop records that the average listeners would tune into via radio or streaming. Some of the topics of rumination were relatable to others in her age group or at her stage of life experience as most will have also likely experiences love, regret, grief and self-doubt throughout their lived experiences. As far as a pop album goes, it mostly achieved what it set out to and was a fairly enjoyable listening experience.
Rating – 6.9/10
References:
“Elizabeth Taylor | Biography, Movies, & Facts.” Encyclopedia Britannica, www.britannica.com/biography/Elizabeth-Taylor.
Laderer, Ashley. “What Is Eldest Daughter Syndrome?” Charlie Health, 4 Oct. 2023, www.charliehealth.com/post/eldest-daughter-syndrome.
Solorzano, Anthony. “Taylor Swift Gets “Father Figure” Props from George Michael Estate.” Los Angeles Times, 3 Oct. 2025, www.latimes.com/entertainment-arts/music/story/2025-10-03/taylor-swift-father-figure-george-michael-estate. Accessed 5 Dec. 2025.
Shakespeare, William. “Hamlet.” Folger Shakespeare Library, 1603, www.folger.edu/explore/shakespeares-works/hamlet/read/.
“Urban Dictionary: Canceled.” Urban Dictionary, www.urbandictionary.com/define.php?term=Canceled.
Zaczek, Iain. “Ophelia | Painting by John Everett Millais | Britannica.” Www.britannica.com, www.britannica.com/topic/Ophelia-painting-by-Millais.
Comments