But the movie conjures up that moment and her response to the press immediately after, and you feel like you’re watching a foundational trauma. The urge that notoriously overcame Kanye West, in 2009, to hijack her acceptance speech at the Video Music Awards stands in for a national vexation. It opens with an adult Swift awash in the declarations of her girlhood diaries and rarely departs from seeing the world as Swift does, and I left it with a new sympathy for a woman who polarizes people. Her movie proceeds in a kind of vérité approach. Pandemic Records: In 2020, Swift released two new albums, “ Folklore” and “ Evermore.” In debuting a new sound, she turned to indie music.Fight for Her Masters: Revisit the origin story of Swift’s rerecordings of her older albums: a feud with the powerful manager Scooter Braun.Millennial Anti-Hero: On her latest album, Swift probes the realizations and reckonings of many 30-something women around relationships, motherhood and ambition.New LP: “Midnight,” Taylor Swift’s 10th studio album is a return to the pop pipeline, with production from her longtime collaborator Jack Antonoff.The Cultural Impact of Taylor Swift’s Music
It’s part of strong stretch of the movie that argues that Swift’s own experience with a handsy (and consequently litigious) radio personality helped push her off the fence - a passage that culminates with the most stressful sending of an Instagram post you’re likely to see from a star. Bob Hope and Bing wouldn’t let their politics dent ticket sales 50 percent.
The team, at that symbolic point, is two slouchy, old white men who counter their client’s raging passion with financial and prehistoric umbrage. She wants to spend her “good girl” credit to decry the scorched-earth-conservative Senate campaign that Marsha Blackburn was running in Tennessee, Swift’s adopted home. So “Miss Americana” is also about an apolitical star waking up to herself as a woman and a citizen.
She’s rueful about sitting out the 2016 presidential election and failing to mobilize her millions of fans and followers against Donald Trump’s candidacy. But Swift’s songwriting treats hurt as an elastic instrument, and she resolves in that moment of snubbing, “I just need to make a better record.” And the movie watches as she writes and records “Lover,” another album eventually rejected by the string-pullers at the Grammys.Īlong the way, Swift does a lot of ruminating and recounting, a lot of arguing and apologizing on her own behalf. On Grammy nomination day in the winter of 2018, a camera watches from a low angle as Swift sits in sweats alone on a sofa and hears from her publicist that her perturbed sixth album, “Reputation,” has been omitted from three of the big categories. Even the man she says she’s seeing is a figment in this movie, cropped from images, a hand-holding blur, a ghost. Not long after the movie doles out a deluxe rise-to-the-top montage, we hear Swift ask no one in particular, “Shouldn’t I have someone to call right now?” This from a woman who’s famous - notorious, actually - for her squad of besties. I, at least, don’t recall loneliness being such a predominant condition for Swift’s peers as it is, here, for her. There’s more in it - and more to it - than you usually get with these pop superstar portraits. “Miss Americana” is 85 minutes of translucence with Taylor Swift.
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