Even though Taylor Swift’s album was only released two weeks ago, as longtime Swifties, we feel thoroughly prepared to evaluate The Life of a Showgirl in its entirety. First announced on August 12th on Travis and Jason Kelce’s podcast, New Heights, Swift’s 12th studio album features 12 tracks, each marking a transition from the melancholy of her previous four albums to a new, radiant era of her life. There is no question that her fiancé, Kansas City Chiefs running back, Travis Kelce, influenced the upbeat, “glitter-gel pen” spirit of the album. We are thrilled to debrief you on a few of our favorite tracks on the record-breaking album of The Life of a Showgirl.
The album’s lead single, “The Fate of Ophelia,” is an ode to the tragedy of the lead female character, Ophelia, in Shakespeare’s Hamlet. Quick Hamlet recap (SPOILER ALERT!): Ophelia, a noblewoman, is forced to surrender to the desires of the men in her life, with the play ending in her death, resembling the oppression of the patriarchy. In this track, Swift references Ophelia, singing that she has been “saved from the fate of Ophelia.” The message carries a subtle irony: Taylor’s sense of liberation emerges through a relationship with Travis Kelce. Instead of being controlled by a man as Ophelia was, Swift finds her autonomy in a partnership that empowers her rather than controls her.
Track four: “Father Figure.” In this track, Swift explores the complexities of a mentor-protege dynamic by using the symbol of a “father figure.” Swift has stated that this song revolves around how mentors provide support and protection while demanding loyalty and exploiting trust. As the song progresses, Taylor hints at the betrayal of the protege, yet emphasizes that the “empire belongs to [her].” Taylor reverses traditional gender roles, exclaiming how she is the figure who “will protect the family.” Notably, Swift interpolates part of George Michael’s 1987 song, also titled “Father Figure,” giving the song a tense but catchy melody.
Now, onto track seven: “Actually Romantic.” This song narrates the “vicious” but “precious” relationship in her life, emphasizing how the energy put into hating someone is actually flattering and somewhat flirtatious. Some speculators say that Swift wrote this track about Charli XCX, another musician who previously opened for Swift during her Reputation Stadium Tour. Allegedly, the two have been feuding, and in this track, Swift alludes to Charli’s obsession with her, letting Charli know that “No man has ever loved me like you do.”
Finally, track ten: “CANCELLED!” is about, you guessed it, getting canceled. Now, in pop culture, celebrity wrongdoings are highlighted left and right, and Swift’s song discusses the feelings of social outrages that are almost daily now. However, fans theorize that the album is about Taylor’s best friend (or possibly ex-best friend), Blake Lively. After Lively was canceled during the release of the It Ends with Us movie, Swifties questioned whether the pair’s friendship survived or if Taylor took sides with mainstream media. We’re unsure ourselves, but maybe “CANCELLED!” will convince you one way or the other.
Alongside her record-breaking album, Swift debuted The Official Release Party of a Showgirl, a limited-time movie in theaters only during the album’s release weekend. Of course, we had to trek to the beloved Southington AMC movie theater to see the sight for ourselves. In case you couldn’t take the field trip for yourself, Swifties were gathered alongside us, singing and dancing to the 12 tracks. Swift opened with “The Fate of Ophelia” music video, and then continued to provide fans with behind-the-scenes footage of its production and a brief history and meaning of each song. The movie not only gave Swifties a new, fun way to experience the album, but it gave Swift herself the title of having the number one album, number one song, and number one movie on their respective charts. If that’s not impressive enough for you, then we’re not sure what is. Either way, that’s the life of showbiz for you.