Swift transforms into the most manly of men for her new self-directed video.
Throughout her many years spent in the public eye, Taylor Swift has faced unimaginable scrutiny over both her professional and personal lives.
But the 30-year-old pop star is still chugging along, having released her seventh studio album, Lover, last year to generally favorable reviews. On one of the record's highlights, "The Man," Swift ponders how she might be perceived and spoken about if she were a man. To help bring that vision to life, she was made over into Tyler Swift—yes, that's really her in prosthetics—to play a macho, manspreading dude in the new music video for "The Man," which she directed herself.
Swift is a known fan of subtle references in her material, and "The Man" comes full with a basket of Easter eggs. Here are just a few that we caught—knowing her, there are likely many more hidden in there.
Taylor of Wall Street
In the second verse, Swift sings: "I'd be just like Leo in St. Tropez." From commanding an office to being surrounded by scantily clad women on a boat, the music video draws a few visual parallels to The Wolf of Wall Street, in which Leonardo DiCaprio starred as infamous stockbroker Jordan Belfort.
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Shows like Brooklyn Nine-Nine make cops seem harmless, an illusion tainted with centuries of racism.
Two summers ago, during one of the darkest periods in my personal life, I found solace in Brooklyn Nine-Nine.
Brooklyn Nine-Nine is a sitcom that stars Andy Samberg as Jake Peralta, an NYPD detective with an impressive track record of solved cases despite his goofy, unsophisticated demeanor. Since its premiere in 2013, the show has been commended for its representation of LGBTQ+ and BIPOC people; the recurring cast includes two very smart (and never overtly sexualized) Latina women, as well as two Black men in the precinct's top roles. In 2018, the show received a GLAAD Media Award for its depiction of queer characters. Throughout its seven seasons, Brooklyn Nine-Nine has addressed serious issues like workplace sexual harassment, reconciling with an absent parent, and coming out to disapproving family members, all while retaining a sharp, tasteful sense of silly humor. Rotten Tomatoes has given multiple seasons of Brooklyn Nine-Nine a perfect 100% rating, likening it to "comfort food."
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She's been queer-baiting us this whole time.
It all started with "Kissgate" in 2014.
A blurry photo of Taylor Swift and Karlie Kloss allegedly making out spread like wildfire across the internet, only to be quickly debunked by a rep for the singer. Regardless, the conspiracy theory remained prevalent, with fans dedicating an exorbitant amount of time to unearthing The Truth: that Swift and Kloss had been secretly dating for years.
Swift has always had a dedicated fanbase in the queer community, and rightfully so. For years the singer has been a
powerful LGBTQ ally. But now she's cashing in on that fanbase. Her latest song, "You Need To Calm Down," is an on-the-nose LGBTQ+ anthem. It paints Swift as a gay crusader, dethroning homophobes on the internet and asking those stupid trolls right to their stupid faces: "Why are you mad when you could be GLAAD?" When Swift started promoting new music with a series of clues on Instagram, some fans read into the initial announcements as T-Swift coming out. Despite the undeniable internet frenzy, she never clarified and continued to mislead fans. She played further into the "Kaylor" conspiracy theory, commissioning a mural in Nashville that looks eerily similar to the Victoria's Secret Wings Kloss wore at the 2013 show. Shortly afterwards, Swift posed in a power suit, added rainbow filters to her photos, and rearranged her Instagram aesthetic to include an inordinate amount of blue, pink and purple, which are the bisexual pride colors. At a recent performance, fans noticed that she changed all the pronouns in one of her songs to "her." She even dropped minute hints, such as uploading a photo of chickens in sunglasses, which fans interpreted to imply "cool chicks." Then, she finally dropped "ME!" on April 26, Lesbian Visibility Day, alongside Brandon Urie, a pansexual icon. The "Gaylor" speculation had become a pandemic.
But with the release of "You Need To Calm Down" we finally see that it was all just Swift showing her superfluous support for LGBTQ+ people. Taylor Swift's gaybaited the queer community for publicity, demonstrating a surprising detachment from the very movement she's trying to promote. But this isn't the first time Swift has made tone-deaf promotional decisions. For her Reputation album rollout, she faced heavy criticism for allegedly taunting Kanye West, whom the singer had feuded with the previous year. Reputation's launch date was set for the anniversary of Kanye's mother's death. Swift then tweeted the link to her video for "Look What You Made Me Do" during the MTV VMA's "when the mother of Heather Heyer, a woman killed by the vehicular attack while protesting white supremacists in Charlottesville, was speaking on stage," wrote VICE. "The unfortunate timing is emblematic of how utterly detached from the world Swift is." She was accused of "rehashing old grudges" during her Reputation rollout in 2017, bringing attention to her petty beef during the first year of Trump's presidency, a time when celebrity feuds were the last thing on the public's mind.
Fast forward to 2019, and Swift has allegedly found her political calling. But her inability to recognize her intentionally misleading promotional campaign as queer-baiting and her inability to separate herself from the movement she's trying to empower exemplifies an artist who, in theory, is an LGBTQ+ champion but in practice is as self-obsessed as ever. Her "clues"—many of which still remain devoid of proper context—exemplify a Swift that is still at the center of her own universe. But most of all, fans are just disappointed. "I really thought Taylor was out this time. I really did!" wrote Buzzfeed News. "Now there's a big part of me...that feels like the rollout for Taylor's new song and video was a calculated attempt to queerbait us all."
Now, we can almost say for certain that it was. But perhaps artists who queer-bait, like
Ariana Grande, Dua Lipa, and Swift, are a necessary evil—at least for now. It matters more at this moment in time that queer audiences be empowered and respected, and regardless of her methods, we have to applaud Swift for putting her money where her mouth is. With all the dust beginning to settle, the release of "You Need To Calm Down" reminds us that it's silly to "think of [Swift's] orientation as anything other than capitalism" and that well-timed internet drama is still the pinnacle of the Swift ideology.
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