later that night, loaded with new songs. But it turns out that this time, 3 hours was too damn long for her to wait. At 2 A.M. last night, with no warning at all, Swift announced that her brand-new was secretly a double album all along. She had another 15 songs ready to go, adding up to 31 in all. She really is drilling down on the whole “I love you, it’s ruining my life” thing. beauty. More tortured. More poetic.
The four bonus tracks fit together, almost as a suite, framing Part Two like bookends. “The Black Dog,” “The Manuscript,” “The Albatross,” “The Bolter” — they’re stark piano narratives about different kinds of mad women. They’re all looking for different kinds of revenge, whether the world views them as romantic ideals , sexual toys , curses , or quasi-stalkers whose friends really need to confiscate her phone for the night .
“Chloe or Sam or Sophia or Marcus” feels like a counterpart to “Maroon,” except this time, the romance on the floor with the roommate’s screw-top rosé leads to a sadder fate. She’s with an addict — “You needed me but you needed drugs more” — yet she can’t break free. She’s still haunted by the question of what she could have done differently, long after he’s moved on.
might sound different. Part One has the nastier wit, the pettier break-up rants, the funnier shade. But they still feel like different halves of the same statement, sharing that sense of post-breakup adult disenchantment. Like a lot of people in their mid-30s, Taylor’s tortured poets feel lost in a future they don’t recognize, instead of the future they spent their 20s training for. In the 2020s, that’s not exactly one pop star’s problem.
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