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Published by Tommy Vietor

Resume: Cohost of Pod Save America. Host of Pod Save the World. Founder of Crooked Media. Former NSC spokesman for President Obama. Writer of long bios.

movie info - Lost in America is a movie starring Rosario Dawson, Halle Berry, and Tiffany Haddish. A documentary film that follows director Rotimi Rainwater, a former homeless youth, as he travels the country to shine a light on the epidemic of
USA

Documentary
Jewel Kilcher
Release Year - 2019

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Lost in america 2019. Omg neuvjeritelni. I was chosen to write the Lover AOTY write up for r/popheads, and I wanted to cross post it here, but with an extra note about the year I’ve had on this sub. 2019 was the year I fully embraced my adoration of Taylor’s music. Listened to her on repeat, listened to old favourites, new favourites, started participating in her fandom. I mostly lurk on this sub (and have moved accounts and only returned to this account so as not to confuse people because this is the username on the schedule! ) but I’ve loved so many of the discussions I’ve watched unfold here. I’m just repeating what is often said about this sub, but I do feel as though it’s been a place for me to express more critical viewpoints regarding Taylor (as opposed to Tumblr, or Twitter). As such, this post on Lover is not always (after)glowing. (Couldn’t resist a pun that makes no sense. ) I hope you’ll enjoy it anyway! ‘The woman said to the serpent, “We may eat fruit from the trees in the garden, but God did say, ‘You must not eat fruit from the tree that is in the middle of the garden, and you must not touch it, or you will die. ’” “You will not certainly die, ” the serpent said to the woman. “For God knows that when you eat from it your eyes will be opened, and you will be like God, knowing good and evil. ”’ Genesis 3:2-5 When I think of love, I think of this picture I took of my best friend on her graduation day, in a bright yellow dress (though you don’t see much of the dress, only the gold shade of her skin in the sun, and when I say that she is gleaming and brilliant, like some precious metal, I need you to know that I am not exaggerating) lying in green grass, her hair tangled and her eyes darkened as she squints. The look on her face is one of such pure, unrestrained joy that her smile creases from the width of it. My best friend, it should be said, can’t stand Taylor Swift, or her music (the separation of these two things is important, and will come up many times in this write up), and would probably be annoyed with me mentioning her in the same sentence as Taylor. (Too bad. To me, Fi, you are the embodiment of love, and I cannot talk about love without talking about you. ) I have a more complicated relationship with Taylor Swift. I grew up with Taylor. She was a deity among us young, lovesick (or desperately waiting for someone who would make us lovesick) Southern girls, and we did what the devoted do for any deity: we worshipped her. I still remember the first time I heard ‘Our Song’ (in my middle school gymnasium, in 2007, on the recommendation of a girl I’m not friends with any longer) and at the time, I did not understand the concept of ‘having a song’, but I knew ‘Our Song’ was going to be my song. Over the next nine years, loving Taylor Swift came in and out of fashion. My friends and I adored her gowns and cut pictures of her from magazines for our walls and screamed about short skirts and bleachers in the backseats of our parents’ cars. Then we said she wrote too many songs about her ex boyfriends. We had opinions about her relationship with Harry Styles. (We didn’t care about Jake Gyllehaal yet. ) But, still: hers was the first episode of SNL I ever watched. (I still have her monologue song memorised, partly because my brother and I rewrote it to be about our dog, and we called it the dog-alogue song. ) Loving her and hating her feels now like it was a fundamental part of our (Southern) girlhood, because when we loved her, it was an act of defiance — we loved her in spite of the hateful words of those who did not, who called her gendered slurs like ‘slut’ and ‘whore’, words that had their claws in us from early ages — and when we hated her, it was an act of a different kind of defiance — we were girls, so we were supposed to love Taylor Swift and her pretty dresses and love songs about the famous men she had dated and we wanted to date too. We were girls, so we were meant to want to be her: tall, thin, blonde, beautiful, heartbroken. (Sometimes, we did. Often times, I still do. Girlhood, as Taylor and I both know, means never being able to win. ) By the time Taylor Swift started making pop music, two things had happened: everyone I knew now loved Kanye West, and I had learned what intersectional feminism was. Over the last few years, my opinion on Taylor Swift has not wavered: her music has shaped who I am and fostered my understanding of what I find important and beautiful, and I treasure all of it. At the same time, I can no longer love the image of Taylor Swift, or the person who wears that image, in the blind, devotional way I once did. I think this is important to disclose, as it shapes my interpretation and adoration of Lover. Before we move on: think of what love is to you. Keep that thought in your mind. PART ONE: EDEN Lover is not a complex album. In the final minute of it, on a distant-sounding voicemail recording that suggests she’s moving out of frame as it fades, Swift lays the album’s thesis bare: she ‘wants to be defined by the things she loved, not what she hates, or fears [interestingly, this could be considered the exact opposite of a statement she had made more than a decade prior: in the liner notes of 2008’s Fearless, she says, “To me, ‘Fearless’ is not the absence of fear. It's not being completely unafraid. To me, fearless is having fears. ’ and, accordingly, Fearless is an album almost entirely about what the then-18 year old Swift feared], or is haunted by”. (The text of this voicemail is also the album booklet’s opening. ) Lover was never really a guessing game, and it’s made obvious by the voicemail that Taylor herself (and not the person she sings “you’re my lover” to on the title track, though whether she labels them as such as an act of deception or to align them more closely with herself is ambiguous) is the titular lover. But, like all Taylor Swift albums, her seventh album, arriving nearly thirteen years after her debut (for the uninitiated, thirteen is Swift’s subversive choice of lucky number), is made richer by its context, and then, it becomes something else entirely. This write up is centred around a thought that did not strike me until I rewatched the opening of the music video for ‘Me! ’ (those few seconds when a snake dissolves into a cabal of pastel butterflies, one of the first images of the post- reputation era) and thought extensively (and self-reverentially) about being a girl in the American South in the 2000s: Lover is Taylor Swift’s Eden, untouched by the ‘sin’ of a woman’s choice (to bite the apple, to defy God, to listen to a snake, to be the snake). Briefly, the story of Eden, for those who may need it: in the Judeo-Christian narrative, Adam and Eve were the first humans, modelled in God’s image — Eve having been created from the rib of Adam in order to serve as his companion. They lived in the lush garden of Eden, a microcosm of the world God created, and had been allowed to eat the fruit of every tree but one: the Tree of Knowledge of Good and Evil. A snake in the garden deceives Eve, convincing her to eat the forbidden fruit. She gives the fruit to Adam and convinced him to eat too, and the pair gain the knowledge of the Tree. As a result, God banishes them from Eden, and in particular, curses Eve and her descendants (childbirth, menstruation, and obedience to her husband) for disobeying him and listening to the snake. (The story of Adam and Eve varies across the Abrahamic religions, this is the Christian tradition — Adam and Eve’s decision to eat the fruit is know as the fall of man, and created the state of original sin, the foundation of the belief that all humans are sinners. ) Lover, as both an album and an era, is Eden in the moment just before Eve listened to the snake, when all the players (God, Adam, Eve, the snake, the fruit and the Tree) existed and were perfectly placed to act, but did not yet know what game they were playing. In general, the album and many of the statements made by Swift during promotion of the album, are an attempt at reversion and reconstruction (to keep things simple, let’s say now that the public image of Taylor Swift is the Eden she is trying to return to with Lover, as it was what was damaged by her self-referenced fall from grace), but, at the same time, she keeps an eye on the future she already watched play out (the album is littered with parallels and references to reputation that come up suddenly and loudly, like warning sirens). Resultantly, Lover is a transitional album, existing in the space between the self-immolating Taylor Swift that made reputation and the Taylor Swift that the former explicitly killed off; it is an Eden that is aware of the fall and seeks to undo it before it can occur. This might explain, but not excuse, some of the most frequent criticism of the album — that it had large amounts of filler (there are 18 songs on Lover, four of which were released prior to the album’s release) and the songwriting was weak. Viewing it through these two parallel lenses, as an album that seeks redemption and in doing so is mostly transitory, lends a hesitance to its moments of bombast and garishness (such as the lead single, ‘Me! ’, which we’ll discuss as a product of Eve-Taylor later on), but the narrative that surrounds Eden is not the only thing that Lover resembles: Lover is, visually and sonically, an album that blooms and, at points, withers. It arrived in a haze of fauna (there were seven palm trees and she was definitely, wink, counting down to something) and pastel tones, with a spring-release lead single and beginning-of-the-end-of-summer album release date, entirely new territory for Swift. The album’s aesthetic has been lush and careful; the cover of Lover itself (designed by 24 year old Colombian-American artist Valheria Rocha) is a sunset of pinks and oranges and pale blues, a pink heart painted in glitter surrounding one eye. The rest of the album’s imagery has had the same shades, and Swift dresses whimsically and in colours, a stark contrast to the dark gradients that dominated reputation’s visual messaging. And then, of course, there are the snakes that have been turned into butterflies, their populations bolstered by CGI and back tattoos and emojis. There are other moments of magical realism (talking traffic lights and haunted clubs, the former bearing a certain resemblance another Jack Antonoff line, from Lorde’s ‘Green Light’, “I whisper things / The city sings them back to you”) on the album, interspersed between warbling piano keys and drums that resemble a heartbeat. Swift maintains her appearance as a master of multiple genres, moving from a sugary collaboration with a Disney-esque hue (‘Me! ’) to a ballad with a Dixie Chicks feature (‘Soon You’ll Get Better’) and the stylish pop that she had perfected on 1989 (‘Cruel Summer’). While there are fewer songs that seem purpose-built for experimentation than there were on reputation, there are still some obvious risks: the children’s choir on ‘It’s Nice To Have A Friend’ and ‘Careless Whisper’ saxophone on ‘False God’ are standouts in a fairly diverse (bearing in mind that this is, ultimately, still a Taylor Swift album) sonic landscape. The last part of the resemblance Lover bears to Eden’s garden is a thematic one: literal and figurative growth. Taylor turned 30 on the 13th of December, and the end of her twenties was a key point of focus in both her promotion (for her cover of Elle, in March, she wrote a list of 30 things she had learned before her 30th birthday, the insights ranging from practical to gut-wrenching to cheeky) and critical (and tabloid) contemplation of Lover. Taylor Swift had more or less come of age in the public eye by the time she released Red in 2012, and Lover is an extension of and meditation on her growth, both as an individual and in her relationship with the English actor Joe Alwyn (now her longest linear relationship to date — Alwyn was also, presumably, the subject of several songs on reputation, and while a rare few boyfriends have seemingly been referenced on multiple albums [Joe Jonas, Harry Styles], none have ever monopolised two albums like Alwyn), coveting both senses of the word ‘lover’ she uses on the album. As was mentioned earlier, many of the first images of the era involved butterflies, which are commonly used to note change through references to the process of metamorphosis, and from such a meticulous artist, this could not have been anything but deliberate. Next: we discuss 2016, both for Taylor Swift and the world as a whole, as the fallout from her recorded phone call with Kanye West shapes Lover’s promotion in the same way it shaped reputation’s lack of the same. PART TWO: THE FALL My favourite song on 2017’s reputation was (the ridiculously underrated) ‘Don’t Blame Me’, where Taylor sings, voice echoing and sultry, “I once was poison ivy, but now I'm your daisy / And baby, for you, I would fall from grace / Just to touch your face / If you walk away / I’d beg you on my knees to stay. ” The parallels between Taylor Swift and Eve are not exact, but they do not need to be: both Taylor Swift and Eve listened to ‘snakes’ (take this only figuratively, who the snake is in Taylor’s narrative depends on who you are) and initiated their own downfalls as a result. Taylor has, for most of her career, painted herself as an innocent figure; actions are mostly done to her instead of the opposite. (This began to shift around the time of Red, when she first started creating music outside of the country music bubble (with its defined roles for women and men) and began to engage more fully with pop and not the crossover pop she had built her career on. One of her most sonically striking songs, and a strong example of the fact that Taylor Swift is capable of making perfect pop music, ‘Style’ features her admitting blame for a relationship’s rockiness (“I said, ‘I’ve been there too a few times’”); these admissions continue on reputation (despite ironic titles like ‘Don’t Blame Me’ and ‘Look What You Made Me Do’) and then is mostly absent from Lover. On Lover, Taylor is mostly the picture of youthful arrogance and innocence (barring, of course, moments of cheek [“He got that boyish look that I like in a man / I am an architect I’m drawing up the plans / It’s like I’m 17 / Nobody understands”] and the entirety of ‘False God’, with its latent sexuality), and Lover, both aesthetically and musically, is charged with that combination. However, on Lover, something interesting does happen: a number of songs are about things Taylor did to someone else, or with someone else, rather than what was done to her by them — ‘Paper Rings’ being a key example. ) The year of her fall, 2016, was a difficult year for Taylor personally, between the end of her relationship with Calvin Harris and the beginning of a cultural war with her at the centre, and it shattered the careful construction of Taylor Swift as an innocent third party. It’s unnecessary to rehash what happened for the thousandth time, but given that Swift did not do press during the reputation era (allowing the album to serve as her immediate reaction), her most clear feelings were expressed during Lover’s media tour. Simultaneously, 2016 was also a politically harsh year; in Britain, where Taylor now spends a great deal of time (her boyfriend, Joe Alwyn, is a Londoner, and she’s seemingly adopted the country as her own), populism lead to a referendum win for ‘Brexit’-idealists that has sent the country into ceaseless turmoil, much of which she would have witnessed as she spent more and more time in the UK. In the US, a president who has now been impeached for abuse of power (and this is before we touch on his history of virulent misogyny, racism, xenophobia, ableism, homophobia, transphobia, and corruption, and as we all, hopefully, know, this is only the tip of the orange iceberg) was elected, and many Americans, myself included, were seized by terror. Taylor didn’t comment on the US’ 2016 election, or its contenders, beyond telling people to vote. She clearly regrets this, as a great deal of Lover’s promotional efforts have been related to activism: industry-related (masters ownership and sexism, both of which we’ll touch on in the next section) and plainly political (LGBT+ rights in particular, and she’s clearly learned more about the experiences of people of colour). She, and her mother, Andrea, endorsed a Democratic candidate in Tennessee's 2018 mid term, and while he lost, her vocal disgust with the political landscape of the United States has continued. (In November, it was announced that she was the subject of a documentary, and it was later revealed that Netflix will be premiering ‘Taylor Swift: Miss Americana’ at Sundance, ‘Miss Americana’ being a reference to ‘Miss Americana & The Heartbreak Prince’, the dazzling political allegory at around the midpoint of Lover. The documentary will presumably look at Taylor’s involvement with the field of American politics, and much remains to be seen about the behind-the-scenes of her decision-making. ) Lover is, from the, until recently, apolitical Taylor Swift, a political record, a direct response to both her fall (and what she gleaned from it, particularly her relationship with Joe Alwyn, which began, as well, in 2016) and the fall of her country: “American stories / Burning before me / I'm feeling helpless / The damsels are depressed / Boys will be boys, then / Where are the wise men? / Darling, I'm scared” Next: on fear, loathing, and femininity. PART THREE: ADAM (OR: GIRLHOOD II) In Billboard’s retrospective of Taylor’s albums prior to the release of reputation, Jonathan Bradley described Self-Titled Taylor as a contradiction, “a lovestruck naïf who slices her enemies with precision”, one of my favourite descriptions of her, because it describes what drew me, and many, many others, to her when I was young: there was a pervasive and graceful violence to the way she dispatched her ex-boyfriends that made us root for her, even as her sabre teeth grew dull over time and her hints at misandry took on new forms — red, wet eyes and hands clasped for Red, wine glass in hand, ready to be shattered, for reputation. Whether you believe her advocacy self-serving or encompassing, Taylor Swift has contended with and spoken out against misogyny for much of her career, and began identifying as a feminist in 2014. In many of her Lover -era interviews, she spoke about the creation of her ‘squad’ (a mostly white, mostly thin, mostly conventionally beautiful — and if you remove Lena Dunham from this group of women [as Taylor did after Lena’s breakup with Jack Antonoff] the mostly thin and conventionally beautifuls become all thin and conventionally beautifuls) as a decision born from bullying when she was young, and how the criticism of her feminism as white woman-centric (shorthand: white feminism, as opposed to intersectional feminism, which accounts for race, sexuality, disability, gender, social capital, economic class, and a host of other things) allowed her to learn and develop her understanding of feminism and misogyny further. Originally, this section was created to discuss Lover as a ‘healthier option’: it is the first album whose master recording Taylor Swift legally owns, and after six albums with Nashville-based Big Machine Records, her first with her new label, streaming giant and Universal Music Group member Republic Records, making her a colleague-of-sorts of artists like Drake and the Weeknd (and her friend/popheads favourite Lorde). Taylor’s navigation of her relationship, and subsequent breakdown of that relationship, with Scott Borchetta (the man who signed Taylor when she was 14, as Big Machine’s first signing, and was part of her development as an artist, as well as a man she considered a friend) hangs over Lover. (My deluxe edition of the album has diary pages referencing him. ) But Borchetta and Swift (and the catalyst for everything, Scooter Braun) have been discussed at length on this sub, and instead, I’d like to talk about female anger: in this era (and to a degree, the reputation era, though then her reaction to what happened to her was manifested as an avoidance of media coverage, anchored by the phrase, “there will be no further explanation, there will just be reputation ”), Taylor Swift was furious. Returning, briefly, to Eden: Eve is a controversial figure in feminist theory (there is some debate as to whether or not it is degrading to refer to her as the first femme fatale, given that the archetype has deeply sexist roots that deny women their agency and sexuality, and given how women have attempted to both destroy and reclaim this archetype, including Swift, on ‘Blank Space’), and, in her myth, she chose to disobey a man and was faced with far harsher punishment for it than the man who did the same action as her (in the Christian interpretation, anyway, in the Islamic tradition, Adam and Eve were punished as equals). In the 2010s, (mostly white) female rage became more acceptable in the mainstream; the release of Gillian Flynn’s ‘Gone Girl’ (as a novel in 2012, and as a David Fincher feature in 2014) was a cultural turning point for the successful depiction of evil women, and Flynn has constructed an empire on the sharpness of her writing and the inherent violence of her novels, writing with a brutality that both conforms to and rejects patriarchal models: in ‘Sharp Objects’ (a book and HBO show), (trigger warning: self harm) the main character carves words, including gendered slurs, into her body, hurting herself with them before anyone else can. One of Taylor’s mentioned favourite TV shows, Killing Eve, is strong representation of this evil white woman on the outside of acceptability: one of the show’s two main characters is Villanelle, a childish, ruthless killer for hire, who tangles an unwitting Eve in her web and is sexually fascinated by her, creating an erotic atmosphere that hovers just over all of Eve and Villanelle’s shared scenes. (This sinister sexual tension is not a stranger to Taylor, she’s flirted with it for years, pre-dating her most explicit references to sex on reputation and then Lover. ) Lover is not an inherently angry album. It’s actually the opposite, purposefully covering very real issues in a sheen of pop gloss (‘You Need To Calm Down’ is the most glaring example of this, a song that references the LGBT+ community, but trips by attempting to compare Taylor’s brushes with being hated by the public to homophobia). Her most pointed song, about sexism, and appropriately titled ‘The Man’, is watered down to hooks and obvious insights, with twinkling digs at Leonardo DiCaprio’s refusal to date women (models) over the age of 25, and even throwing in a gendered slur (bitch) she’s expressed discomfort with being called (and which made an appearance in her ‘Look What You Made Me Do’ music video with a volleyed, “Don’t call me that! ” that is never responded to) in the past. Taylor’s anger is most palpable, and palatable, and righteous in her interviews about, and personal statements on, Big Machine Records’ (and her masters’) sale to Scooter Braun. She openly expresses disgust with and hatred for Braun and Borchetta, after what she referred to as years of loathing Braun (particularly his participation in acts of misogyny and assorted pettiness against her) privately. For many (even, I think, most, if not all) women, privately hating a man for things they have done to you, but which you can’t speak about if you want to keep your job, or your friends, or your family, is an achingly common feeling. The fear, and the sadness, and most of all, the rage, palpable in Taylor’s statements about her politics, both personal (the sale of her masters) and public (the general political landscape of the United States), are painfully familiar. It’s difficult not to think about how the fate of her master recordings must have hung over her as she made Lover, and regardless of whether it is done for a self-serving purpose, Swift’s push for reform of industry practice regarding masters ownership is important, bringing an occasionally-cared-about issue back into the mainstream. Next: having covered a great deal of Lover’s context, we finally discuss the music itself. PART FOUR: EVE Lover is built on a foundation comprised of three themes: religion, marriage, and youth (or nostalgia, whichever you find more fitting a description of what Taylor is singing about). Every motif that crops up with regularity on the album (alcohol, sex and sexuality, her lover) can be categorised under one (or two, in the case of wine, which is both a religious symbol and a symbol of adulthood, and sexuality, which is related to adulthood and marriage) of these themes. I said in my initial thoughts on Lover that this is a redemption album. I’ve figured out how to word it more concisely since then, so what I mean to say is that the most central theme of Lover is not, in actuality, love, it is redemption: (as I said in August, and have not figured out how to say any differently in the time since) what is love (and a lover) if not the embodiment of redemption? To be loved despite what you have done — is that not the peak of redemption? Religion / Religious Dichotomies ‘Cruel Summer’ Cruel Summer has cemented itself as a sub (and fan) favourite, sparkling pop with an undercurrent of danger. Opening with the phrase “fever dream high”, it’s some of the sharpest writing on the album (invoking past Taylor Swift albums with imagery like Taylor in the glow of a vending machine, a spiritual successor to the fridge light she danced in on Red) and has moments of pure ear candy (the screamed “I love you, ain’t that the worst thing you ever heard? ”, for one). Thematically, it’s an extension of reputation single ‘Delicate’, about a fragile, secret relationship, and Taylor makes extensive use of dichotomies in the song’s lyrics, angels and devils in particular, that lend themselves to a feeling of sinfulness and create a vaguely sexual charge to the song. The title, too, showcases another dichotomy: summer is typically regarded, and portrayed, as something sweet. Taylor calls it cruel, and accuses it of being a knife (and not merely knife- like, it is a knife) that cuts her to the bone, singing about both her relationship and the season as violent. (“If I bleed you’ll be the last to know” is a damning line, regardless of how you interpret it, but paired with the first verse’s “Bleed slow”, the song has an unmistakably gory tinge to it. ) ‘The Man’ A meditation on the dichotomy of men and women, The Man is, in essence, a breakdown of the things Taylor has done during her career and in her personal life that would be regarded differently if she was a man. (The title is a double entendre, referring to both being ‘the man’, as she sings about in the chorus, and to The Man, the patriarchal authority. ) It’s an unsubtle, bouncing takedown, and Swift rightfully points out that she’s been subjected to extensive criticism for things that famous men, Leonardo DiCaprio being named and shamed, get away with in the eyes of the general public. I think the most concise summary of The Man comes from Taylor’s testimony at her 2017 sexual assault trial, in response to having been called cold (a descriptive term usually reserved for women who aren’t as warm as they’re expected to be): “I have an uncanny ability to solicit all kinds of new criticism. ” ‘The Archer’ Lover’s pre release promotional single was mostly lost in the discussion of the rest of the album, but it’s a stunning ballad with an unanswerable question at its heart: who could ever leave a woman like Taylor Swift? Who could stay? The song is deeply personal, quietly delving into her insecurity (she’s had issues with disordered eating, and has spoken about her issues with her body image and weight in the Lover era) and being torn apart by the expectations (the repeated line about being ready for combat, but not wanting it, but maybe wanting it, that eventually just becomes “I’m ready for combat”, is not an unfamiliar feeling to me and my Southern girlhood). The dichotomy in The Archer that made me categorise it here is mostly contained in its title and chorus (she’s been both the archer and the prey, she sings in the chorus, over a sparse instrumental with a soft drum that acts like a heartbeat), but it also touches on the theme of youth (“I never grow up / It’s getting so old”, and a reference to the Humpty Dumpty nursery rhyme that is somehow brutal), and has one of the album’s references to ghosts. The Archer is agonising (the line, “All of my heroes die all alone”, while a Jack Antonoff sentiment he’s vocalised before, is a gut punch when you listen to it at the wrong moment in your life) and agonised, and it is absolutely crucial to Lover’s narrative. ‘Cornelia Street’ Cornelia Street is easily one of Lover’s best songs, with its echoing keys and backseat drinking. Referencing the house in New York Taylor lived in when she met Joe Alwyn, the sentiment of the song is one so strong it should be added to the pantheon of horrible, dangerous feelings Taylor managed to put into words: if her relationship with (presumably) Alwyn were to end, she sings, she’ll “never walk Cornelia Street again”, unable to go down it without thinking about him or their relationship. The beauty of Cornelia Street is in its lack of subtlety; the chorus takes place almost entirely in Taylor’s higher register, and while not screaming, like ‘Cruel Summer’, it paints her love as something terrifying, something mystifiying. The song aches so much that the hypothetical (“if I ever lose you”) doesn’t make sense until the “again” is added, an intriguing hint that, at one point, their relationship nearly broke down. ‘Soon You’ll Get Better (featuring the Dixie Chicks)’ Soon You’ll Get Better hurts. It hurts, and it hurts, and it hurts, and it’s brought me to tears and onto my knees. A ballad in honour of Taylor’s mother, Andrea, who loves the Dixie Chicks (it should be noted that the Dixie Chicks’ rise and fall in country music, due to speaking out against George W Bush in 2003, was tinged with the sexism Taylor contends with on Lover, and was an act of political activism in a hostile word) and has breast cancer, the sentiments in Soon You’ll Get Better are deeply personal, and their expression is painful: Taylor explicitly makes reference to Jesus for the first time in years (she’s had a relatively a-religious career, considering her country roots), saying she prays to him because of desperation. She canonises her mother’s “holy orange bottles” (for those of you not from the US, here, most of our prescription drugs come in plastic orange bottles) and “paints the kitchen neon”, because Andrea has to get better. There’s a danger in talking about the illness of someone you are close to, because you don’t want to make things about you. (I am often the sick person, having discovered that I have a life-threatening illness that attempts to kill me every so often when I was a pre teen, and I have experienced people talking about my illness in a way that makes me feel as though it, and I, am a burden to them. ) But Taylor’s adoration of her mother is plain, and she explicitly says, “I hate to make this all about me”, managing to walk the narrow line between expressing her feelings about her mother’s cancer and harming her mother by expressing them. It’s difficult to imagine Andrea would be angry with such a tender song, especially because Taylor admits the impossibility of her understanding what her mother is going through — but, she sings, she’ll never stop trying to. ‘False God’ Immediately following the agony of ‘Soon You’ll Get Better’ is the ecstasy of False God, a song that can only be described as ‘sonically chill’ with a George Michael-invoking saxophone in its veins and an extended religious metaphor for oral sex. (The altar is Taylor Swift’s hips, and an altar is where kneeling takes place. ) False God is patently hedonistic and even more patently sacrilegious, with Taylor admitting that, regardless of whether or not her and her lover’s relationship is a false god (that new religion she mentions in ‘Cornelia Street’), they’ll still worship. It comes in sharp contrast to Soon You’ll Get Better not only sonically, but in sentiment, but their pairing makes a certain kind of sense: Swift quietly shows the spectrum of human interaction with religion, from desperate prayers for healing to ‘oh my god! ’s when their religion meets her altar. Marriage ‘Lover’ Lover being about marriage is obvious, Taylor creates a set of vows in the middle of the song, and sings about a beautiful domesticity, referring to her boyfriend (or fiancé, or husband) with pet names (including the titular ‘lover’). It’s a sweet little song, and it’s obvious why Taylor loves it so, joy plain on her face during every performance of it to date. It’s a purpose-built wedding song, too, and it’ll be unsurprising if we learn her relationship with Alwyn has progressed. ‘Paper Rings’ Paper Rings is earnest and honest, its chorus stating explicitly that she’d marry Alwyn. (With paper rings, despite her noted love of sparkle and shine. ) It’s a bouncy, fun little song, perfect for singing along to, and touches on more of the domesticity in ‘Lover’ with a wink, referencing dirty dreams to match the dirty jokes of her lover. Youth / Nostalgia ‘I Forgot That You Existed’ I Forgot That You Existed is a paradox, because by virtue of its existence, Taylor hasn’t exactly forgotten their existence (‘they’ being speculated to be anyone from Kanye West to Calvin Harris to Karlie Kloss). It’s the opener of Lover, and in the second verse, she makes explicit reference to her previous album: “Got out some popcorn / As soon as my rep started going down, down, down”. She says that the person at the centre of the song taught her some lessons, but she’s since forgotten them, and the track is ultimately a misstep, with her cackling and spoken “So... yeah” taking on a forced tone given the song’s paradoxical nature. But, in Taylor Swift fashion, it is catchy. ‘I Think He Knows’ A song that, like much of Taylor’s pre- reputation discography, hints at the act of sex rather than couching it in obvious metaphors, has a moment of self awareness that is stunning, previously referenced in this write up: “It’s like I’m 17 / Nobody understands”. The year she turned seventeen, Swift released her debut, self-titled album: she was still a teenager, and the nature of a teenager is to be misunderstood, but it’s difficult to imagine that no one would understand her, especially since she has, from the beginning, laid herself, and her emotions, bare in her music. ‘Miss Americana & The Heartbreak Prince’ Miss Americana is, at points, an allegory, comparing American politics (and possibly a dash of British politics too) to a high school movie set, with more explicit references to Taylor’s teenage years. It’s a pretty song, one of the album’s highlights, and there are moments of it that are sonically beautiful, like her “darling I’m scared” and “voted most likely to run away with you”. It’s not her best metaphor, but it is easy to understand how Taylor Swift would see America in 2019 as a high school that alienated her (and millions of others). ‘ME! (featuring Brandon Urie)’ Me! has been discussed at length as a misstep, and it really, really is, the worst of Taylor’s terrible lead single choices, but what is striking about Me! is how blatant it is: when she wanted to shed her snakeskin, left over from reputation, she really shed that skin. Me! is aimed at another demographic entirely (“Hey kids! Spelling is fun! ”, which was removed from the album, but we all know is there), and sounds like it should be in a Disney movie. It’s a strong departure from reputation, but, like that album, gives the impression that it was something Taylor had to get out of her system, for better or worse. Continued in the comments, as I break the character limit!

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America lost in delusion. I got the chills. Scroll down to see where Lost in America (1985) is available to watch online. 71 / 100 based on 6, 299 votes A husband and wife in their 30s decide to quit their jobs, live as free spirits and cruise America in a Winnebago. Watch Now You can watch Lost in America (1985) on these websites: Website Rating Available Offer Link Amazon Prime Instant Video 30 Day Free Trial Visit Info Now TV Sky Cinema 14 Day Free Trial Now TV Entertainment Info The links here show which websites are streaming Lost in America at the moment. Websites are continuously updating their catalogues by adding new movies and TV shows - so watch it while it's still available. You'll also see there are free trials on offer, so you might be able to watch it for free if you are a new customer! The information about where movies are available online is refreshed every 72 hours. Every service is licensed to show the full movie in it's original studio-released format. Subtitles in English and/or foreign languages may be available. Please check on a case by case basis. Find out more about the movie streaming websites: Watch on Amazon Prime Lost in America (1985) is available to watch on Amazon Prime: Watch on Now TV Sky Cinema Lost in America (1985) is available to watch on Now TV Sky Cinema: Watch on Now TV Entertainment Lost in America (1985) is available to watch on Now TV Entertainment: Recommended Movies The Pianist 2002 Feature Film 85/100 A Polish Jewish musician struggles to survive the destruction of the Warsaw ghetto of World War II. Watch Now Face/Off 1997 Feature Film 73/100 In order to foil an extortion plot, an FBI agent undergoes a facial transplant surgery and assumes the identity and physical appearance of a terrorist, but the plan turns from bad to worse when the same terrorist impersonates the FBI agent. Watch Now 2:13 2009 Feature Film 49/100 A police profiler has just returned from psychiatric leave only to find that he is caught up in a serial killer's rampage. Fighting to keep buried the trauma of his childhood, he must... See full summary » Watch Now The Night We Called It a Day 2003 Feature Film 60/100 Based on the true events surrounding Frank Sinatra's tour of Australia. When Sinatra calls a local reporter a "two-bit hooker", every union in the country black-bans the star until he issues an apology. Watch Now Mrs. Doubtfire 1993 Feature Film 70/100 After a bitter divorce, an actor disguises himself as a female housekeeper to spend time with his children held in custody by his former wife. Watch Now Recommended TV Shows One Big Happy 2015 TV Show 58/100 A lesbian and her straight guyfriend decide to have a baby together. Watch Now Sex & Drugs & Rock & Roll 2015 TV Show 72/100 A middle-aged once famous rock singer, who desperately wants his glory days back, finds out he has a talented daughter, who wants to reunite and front his old band - and date his guitar player. They're dysfunctional, but they don't care. Watch Now Ballers 2015 TV Show 76/100 A series centered around a group of football players and their families, friends, and handlers. Watch Now iZombie 2015 TV Show 79/100 A medical resident finds that being a zombie has its perks, which she uses to assist the police. Watch Now Grace and Frankie 2015 TV Show 83/100 Finding out that their husbands are not just work partners, but have also been romantically involved for the last twenty years, two women with an already strained relationship try to cope with the circumstances together. Watch Now Comments Related Links.

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