Cant Stop Thinking About This...

The Fortnight video foreshadows the convergence of Taylor Swift and her brand

In her videos, Taylor has continually played with the idea of herself as a person versus as a brand. These portrayals have almost been adversarial in nature. Think about the relationship between the two life sized Anti-Hero Taylors. The hooded robot Taylor who got to exist in the world while her bare counterpart was trapped in glass. Etc.

The Fortnight video introduces similar characters but flips the script because there isn’t a me versus her dynamic anymore. Instead, there is a story about coming together.

A scene by scene breakdown:

Taylor Swift™️ is chained to a bed in a white gown with a spicy slit and garter. A faceless nurse enters walking upside down on the ceiling (a continued theme suggestive of PR games). The nurse presents “Forget Him” pills, arguably reminiscent of a dark time where the world thought they could “cure” homosexuality. After Taylor Swift™️ begrudgingly takes her dose, the nurse unchains her.

We then see Taylor Swift™️ approach a two way mirror and wipe the mask off her face, revealing face tattoos we know to be Post Malone’s in real life. This reveal is setting the scene that within this video Post Malone represents Taylor’s inner self, her true soul behind the veil of celebrity. I’ll call him True Taylor.

Next, the mask is back and we see Taylor Swift™️ walk out of the observation room and into the workspace. She goes from wearing a leggy white gown with garter to a fully covered black poet-esque dress. She isn’t dressed for voyeuristic eyes anymore, she’s dressed to work on her art. I love this light to dark transition because black can be seen as the absence of light. Fitting for a tortured poet who can’t live her truth in public with her sunny muse by her side.

Note that we don’t get to see black dress Taylor Swift™️ through the two way mirror. She exists behind the bright lights of fame, making art in a room hidden from our view. Maybe the pills numb her enough to twist the art for an audience who likes to her to be chained to a bed while they watch her suffer.

But wait Taylor Swift™️ and True Taylor are collaborating. They start work separately but their art eventually drifts out of their typewriters, combining into a white light that bursts into a rainbow. Remember how I said black light is the absence of light? Well white light is comprised of all hues on the visible light spectrum.

We know there are layers to Taylor’s music: the surface layers chock full with to red herrings for the grocery line Swifties and the deeper layers of Taylor’s truth. They both exist in the art, swirled together.

But here is where things start to feel different. We cut to True Taylor and Taylor Swift™️ away from all those faceless people - they are alone in the middle of a road. That in itself is ridiculously symbolic of being on the way to somewhere (maybe brighter days). But there’s more because they are dressed identically, laying inside Taylor’s head that is made up of their art. This scene is like bonking us on the head that these two people are one and the same.

Note: The silhouette here is from the Style video which also portrays Taylor’s inner self as a man.

Taylor Swift™️ runs to True Taylor and they embrace in the middle of the road as pages of their art float around them. In the chaos, Taylor Swift™️ reaches out to True Taylor.

Maybe this scene is suggesting the public version of Taylor is ready to embrace her real self.

Then we see Taylor Swift™️ strapped to a table, wild hair from dropping the hairpins we saw in the opening scene. The drugs aren’t working, it must be time to escalate to shock therapy. The men around her gather and there is literally a sign in the background that says “Master Control”.

But one of the men in the room making decisions for the brand is actually True Taylor, who has been there all this time.

Enough is enough when True Taylor can’t take the pain and pulls the plug on the procedure, freeing public persona Taylor from torture.

Next we see True Taylor, familiarly encased behind glass, on a phone call. Perhaps making plans while safe from the rain. Taylor Swift™️ is elevated on a pedestal, out in the storm, in her best dress FEARLESS! Credit to @rep-princess-witch who put the fearless connection together in another post.

I’ll say it again, that is the huge difference in this video compared to others. Here, Taylor Swift™️ is not an antagonist, she is ready to brave the storm.

So what does she do? She’s back in the workspace burning all the files. It’s not without emotion but it’s necessary. We then see a stoic Taylor Swift™️ with no regrets.

After burning the files she’s back in the observation room. It’s time to fight back against the voyeurs and she does so my smashing the glass between her and them. She regains her agency by squashing their ability to hide. Shes deserting her past life.

Note: We don’t see True Taylor back inside. This fight is specifically for Taylor’s public persona.

In the closing seen, we see True Taylor leave shelter, step outside into the storm, and reach for Taylor Swift™️. The person and the public persona are weathering the storm hand in hand.

*Please check out @heyitsmoog on TikTok - he shared thoughts there that inspired me to make this post.*

maybe i take my gaylorism a step further and start rumors that taylor is a trans man

The people saying that TTPD is so boring because it "sounds just like midnights" are absolutely wild to me because how dare an artist make more than one album that's the sane style.

Oh, wait....

Taylor right now:

if you were wearing the jeans, who was wearing that little black dress taylor...

the hate a lot of swifties hold for gaylors is honestly nauseating. the vast majority of gaylors aren't accusing taylor of queerbaiting, pressuring her to come out or saying she's any sexuality for sure. most of them are just pointing out how there seem to be queer themes and signals within taylor's music, which BY THE WAY is how queer people have communicated and found each other, forever.

how can you possibly think that is invasive? how can you say that gaylors are disgusting? how can you be so cruel to somebody who simply wants to find relatability in art they love?

so The Smallest Man Who Ever Lived is for SURE about so many things, like scooter braun, scot swift, the music industry at large, her fans, etc. but. what about taylor talking to herself? she is The Man after all. so what about True Queer Taylor talking to Public Persona Taylor? i need to sleep but!!

WHOS AFRAID OF LITTLE OLD ME

‼️‼️‼️🗣️🗣️🗣️

this really is for tortured gay people with depression i love it

I believe that Getaway Car, Cruel Summer and Hits Different are a trio of sorts.

‘Cruel Summer’ is clearly a callback to summer 2014, and with the lyrical parallels in ‘Hits Different’, we can see she’s also referencing that period of time.

Taylor was not in a happy place in the summer of 2014..

The song ‘Getaway Car’ also displays clear motifs and themes that match with ‘Cruel Summer’ and ‘Hits Different’; Specifically crying in the car and leaving someone at a bar.

Nothing good starts in a getaway car

They were driving, but they never got far

She was CRYING in a getaway car

She was DYING in a getaway car…

In my opinion, ‘Getaway Car’ is a metaphor for Karlie convincing Taylor to move to NYC.

Taylor wrote on Jan 6th, 2014:

‘Love is fiction/a myth. I’m over it all’

‘Oh my, love is a lie. Shit my friends say to get me by.’

The cursed “space” that she “needed” was her choice to move to NYC instead of following Di to London.

Evening Standard

Glee star Dianna Agron to be cheerleader for Alexander McQueen in play

 

Taylor did choose to conclude the European leg of her Red tour in London, on Feb. 11th, 2014, which is also the same day that she chopped her hair into a bob 🙃

It was also just days before the release of the ‘best friends’ Vogue photoshoot and Dianna’s response..

So messy!!!

Later in May 2014, Taylor went to The Met Gala with Karlie.

Dianna was also there, photographed being extra warm towards her rumored ex, Leà Michelle, which was unexpected since the two had seemed to be ‘feuding’.

Could you imagine seeing your ex with her ex, while you’re out with your rebound? I would have metaphorically died that night too.

After the Met Gala, Taylor turned up the pap walks.. err.. I mean the “sneaking” through the garden gate (looked more like trying to hurt someone else, if you ask me)

Talk about a cruel summer.