Taylor Swift

Picture of Taylor Swift greeting fans. Wesley Lapointe / Getty; The Atlantic. October 21, 2022. Share. Taylor ...

And the thing that got people excited in the music industry is more people saw him in Fortnite than would see him in a real-life concert. So it’s not a virtual world, but it’s a virtual community. And it’s not real time, in the sense of people hanging out in the same space. But because they don’t have avatars and they’re not meeting in a virtual space, it’s not technically a metaverse? Are Swifties actually living more of a true metaverse experience than the people using that platform? But the virtual community has to be as strong as the technology piece. In the book, Stephenson even mentions that it’s mostly just the wealthy who use VR headsets, and regular folks just use a regular computer. Au: Well, the fact that she’s created this kind of virtual office for herself, that’s—let’s call it metaverse-ish, especially if she ends up using it somehow in the future. It looks like it could be something out of The Sims or something. She has, in a way, created a virtual universe in which fans can experience the launch. That’s another thing that drives me crazy: the assumption that it has to be in VR. He is currently writing a book called [Why the Metaverse Matters](https://venturebeat.com/games/wagner-james-au-will-tell-us-why-the-metaverse-matters-in-a-book/).

Taylor Swift has released many music videos, but here's a look at all the ones she directed herself.

Forever grateful to my incredible DP @the_rinayang and our amazing crew.” “Watch my nightmare scenarios and intrusive thoughts play out in real time. “I needed 10 years of retrospect in order to know what I would even make to tell a version of that story visually.” He’s unbelievably talented and it was so amazing to have him in the Lover music video!” “It would be committing to making a film and I feel like I would absolutely love for the right opportunity to arise, because I absolutely adore telling stories this way.” Ever since she first took the plunge of overseeing the visual for her Lover single “The Man” in 2019, though, more of her music videos than not have been directed entirely by the country-turned-pop star herself.

The singer-songwriter's 10th studio album returns to the pop sound she left in 2019, and explores a familiar subject: how she is perceived, and how she ...

[rerecordings of her old albums](https://www.nytimes.com/2019/08/22/arts/music/taylor-swift-rerecord-albums.html), an offshoot of the ownership battles spurred by the sale of her old masters. There are songs on “Midnights” — “Midnight Rain,” “Lavender Haze” — that suggest an awareness of the ways Drake and the Weeknd have deployed overcast mood in their vocal and musical production, though she rarely commits. Of the new songs, only “Glitch” and “Would’ve, Could’ve, Should’ve” aren’t subtractive.) Which all prompts the question of where Swift might go as a midcareer pop star, if she were to pivot once more. “Midnights” feels like a sonic place holder, with stadiums in mind. The fleet, breezy and lightly damp “Lavender Haze” includes some sweet singing, though it feels overly reminiscent of the thumping digital folk of Maggie Rogers’s [Jack Antonoff](https://www.nytimes.com/2017/05/24/arts/music/jack-antonoff-bleachers-lorde-interview.html), constrains her voice. Throughout the album, on songs like “You’re On Your Own, Kid” and “Maroon,” Swift’s vocals are stacked together to the point of suffocation. “Snow on the Beach,” a collaboration with fellow Great American Songwriter Lana Del Rey, begins with light Christmas music energy and never really ascends. But she also thrives when writing about “Taylor Swift” — the idea, the metanarrative, the character. “Did you hear my covert narcissism I disguise as altruism, like some kind of congressman?” Swift muses on “Anti-Hero,” an eerily shimmering Kate Bush-esque number that’s one of the album’s high points. [Taylor Swift](https://www.nytimes.com/spotlight/taylor-swift) has always been at her best when writing about Taylor Swift — she is diaristically pinpoint, a ruthless excavator of her own internal tugs of war.

The vocals remain distinctive but the songs could do with more vividly told stories.

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The singer-songwriter's 10th studio album is a return to the pop pipeline, with production from her longtime collaborator Jack Antonoff.

Target, which has had a long relationship with Swift, has its own exclusive LP version (on “lavender” vinyl) as well as a CD with three exclusive tracks. The most ingenious or shameless part — take your pick — of Swift’s vinyl strategy is what she has done with the back covers. In a sense, “Midnights” is Swift’s return to the pop pipeline after her digressions of the past couple of years. Swift is releasing four standard versions of “Midnights” on vinyl, each with its own disc color and cover art; they also correspond to four variant CD versions. Swift’s friendship with Kravitz, as fans know, is close enough that she once acted as an [uncredited assistant](https://wwd.com/business-news/media/nyt-great-performers-2020-list-tv-tiktok-michaela-coel-sarah-cooper-1234672957/) on a pandemic-era remote photo shoot of Kravitz for The New York Times Magazine. [kitschy videos](https://www.tiktok.com/@taylorswift/video/7147533441326648618?is_copy_url=1&is_from_webapp=v1) on TikTok that revealed song titles, one at time, taken from Ping-Pong balls in a basket, as if on a decades-old local TV spot. [making an album with Antonoff](https://www.elle.com/culture/celebrities/a39035654/zoe-kravitz-interview-march-2022/), is listed as one of the six songwriters of the first track, “Lavender Haze,” alongside Swift, Antonoff, Mark Anthony Spears (a.k.a. But an important factor in the sales and chart prospects for “Midnights” may be Swift’s embrace of physical music formats like CDs and vinyl LPs, which, because of the way Billboard crunches data about how music is consumed, can have a major impact on chart positions. Swift’s marketing this time has involved a series of “I find myself running home to your sweet nothings.” “Folklore” won The marbled vinyl has been pressed and sorted into collectible variants.

On Swift's 10th and most challenging album, she and producer Jack Antonoff push her voice in new directions, rethinking the sonic rhetoric of first-person ...

She's still working to slacken the hold of the Old Taylor — of the many Old Taylors she's constructed through her music and celebrity. This is the kind of truth-telling that's earned Swift the devotion of her fans. For all of her kindness in the world and empathy and dedication to openness as a songwriter, Taylor Swift is, in her essence, sharp. "Labyrinth" — as good as any song inspired by one of her favorite subjects, the experience of still hanging on when you have to let go — melts her voice into myriad light streams, some as twisted as in a On "Midnight Rain" it's auto-tuned to vacillate between birdlike high notes and an almost masculine lower register, punctuating the story the verses tell of a young woman outgrowing a relationship with a sound that evokes that process of unfolding into a new self. is the kind of story song only Swift can write, dipping into gel-pen poetry to cultivate a swoony mood, then focusing on a scene of romantic persuasion and betrayal drawn so acutely that it stings. Usually she's explaining every move she makes, but here the music pulls her into the eternal now of her emotions, working against her persistent impulse to make sense of them. Sharpness is also key to Swift's perspective, surfacing in her love of the telling detail, of the rejoinder that cuts through whatever bulls*** the object of her love/hate has burdened her with. In the evening, with her lover nearby, does she vape a little Lavender Haze CBD Rosin and focus on the quietude creeping into her body beneath the relentless chatter of her thoughts? On Midnights she worked exclusively with her soulmate producer Jack Antonoff, bringing in only a handful of collaborators (the most notable is [Lana Del Rey](https://www.npr.org/artists/145913023/lana-del-rey), who gives great femme energy on "Snow On The Beach"), burrowing into a sound that might be called ahistorical chillout music. And then, in the studio, can she bring a lyric built on questions, turn to her trusted collaborator and say, "I don't care if this song is a hit, I want it to be weird"?

With its confident songwriting and understated synth-pop, Swift's sophisticated 10th album indicates that she no longer feels she has to compete with her ...

Last time she broke cover with new material, she released [Folklore](https://www.theguardian.com/music/2020/jul/24/taylor-swift-folklore-review-bombastic-pop-makes-way-for-emotional-acuity) and [Evermore](https://www.theguardian.com/music/2020/dec/11/taylor-swift-evermore-rich-alt-rock-and-richer-character-studies), two pandemic-fuelled albums of tasteful folk-rock produced by the National’s Aaron Dessner. There’s an appealing confidence about this approach, a sense that Swift no longer feels she has to compete on the same terms as her peers. Everything has been [pored over for potential information](https://www.theguardian.com/music/2022/oct/14/taylor-swift-celebrate-album-release-midnights-pop-acclaim) about its contents, up to and including the kind of eye shadow she wears on the album cover. Meanwhile, Anti-Hero offers a litany of small-hours self-loathing set to music that feels not unlike the glossy 80s rock found on Swift’s Elsewhere, if the Swift you love is Swift in vengeful mode, settling scores with a side-order of You’re So Vain-esque who’s-this-about? [more of the same](https://www.theguardian.com/music/2021/dec/16/go-easy-on-me-why-pop-has-got-so-predictable): building an immediately recognisable brand in a world where tens of thousands of new tracks are added to streaming services every day. It’s an album that steadfastly declines to deal in the kind of neon-hued bangers that pop stars usually return with, music brash enough to cut through the hubbub. In fact, Midnights delivers her firmly from what she called the “folklorian woods” of her last two albums back to electronic pop. There are filtered synth tones, swoops of dubstep-influenced bass, trap and house-inspired beats and effects that warp her voice to a point of androgyny on Midnight Rain and Labyrinth, the latter a leading choice given the preponderance of lyrics that protest gender stereotyping, or “that 1950s shit they want from me”, as Lavender Haze puts it. [Taylor Swift](https://www.theguardian.com/music/taylor-swift)’s 10th studio album, Midnights. It’s an approach that Midnights’ one marquee-name guest, [Lana Del Rey](https://www.theguardian.com/music/lana-del-rey), knows a lot about, but not one to which Swift has adhered. Instead, breadcrumbs of mysterious hints and visual clues are very gradually dropped via the artist’s social media channels.

On Midnights song Labrinth, Taylor Swift discloses a shocking opinion: She really doesn't like elevators.

No word yet on whether this will affect [her approach to planes](https://www.vulture.com/2022/08/taylor-swift-private-jet-emissions-response.html). [Midnights](https://www.vulture.com/2022/10/taylor-swift-midnights-album-stream.html)), Taylor Swift discloses a number of intriguing takes: on “Karma,” she says that “karma” is like “a cat, purring on my lap”; on “Anti-Hero,” she says that she sometimes thinks “everybody is a sexy baby”; and, on the album’s tenth track, “Labyrinth,” Taylor slowly and softly tells us a story about falling in love by relating it to … Almost one minute in, she sings, “You know how scared I am of elevators / never trust it if it rises fast / it can’t last.” Taylor has been in an elevator at least twice prior to this song — once while dressed [as a “pegacorn” for Halloween](https://www.thecut.com/2014/10/taylor-swift-is-trick-or-treating-in-an-elevator.html) in 2014, and once [with Taylor Lautner in Valentine’s Day](https://www.youtube.com/watch?v=CRbVrY5DDqk) — so, either something changed or she was secretly hiding how much she disliked them. On TS10 (a.k.a. Breaking: Claustrophobia just fell to its knees.

The album treads aggressively familiar territory—but with new wisdom and confidence. By Spencer Kornhaber. A portrait of Taylor Swift. Beth Garrabrant.

On the delightfully trollish “Anti-Hero”—“Sometimes I feel like everybody is a sexy baby, and I’m a monster on the hill”—she makes the highly specific insecurities of a celebrity land as a (The lovely “Snow on the Beach,” for example, is almost ruined by a pointless Janet Jackson reference.) But the concision of Swift’s songcraft and the nuances of her phrasing should keep the listener tuned in. (Please diagram this double negative: “Karma’s a relaxing thought / aren’t you envious that for you it’s not?”) For the opener, “Lavender Haze,” the cartoon-villain smolder of her voice has human creaks and squeaks. “Maroon” and “Question…?,” two songs about hot memories, churn with a near-tragic blend of energy and frustration. That knack for relatability is her superpower—one so potent that it almost makes Midnights’ insularity seem noble. [Reputation](https://www.theatlantic.com/entertainment/archive/2017/11/reputation-taylor-swift-first-review/545561/) in 2017 and [Lover](https://www.theatlantic.com/entertainment/archive/2019/08/taylor-swift-lover-review-faith-religion/596725/) in 2019—tinged with extremity and experimentation, brilliance and [cringe](https://www.theatlantic.com/entertainment/archive/2019/04/taylor-swift-me-song-review/588118/). The concept behind the album title—Swift documenting “13 sleepless nights” over her lifetime—is an excuse to tour through old obsessions: exes, haters, feuds, her beau’s talent for distracting her from all of the above. Yet compositionally, Midnights is sleek and sturdy in a way that no previous album of hers is. Last year, she expanded an old ballad, “All Too Well,” [into a 10-minute saga](https://www.theatlantic.com/culture/archive/2021/11/snl-taylor-swift-all-too-well-red/620706/) that flickered with controlled fury. What’s distinct about her return to synth pop is just the flavors she stirs in: oozing bass, surmountable melancholia, and the same type of confession and awkwardness that appears 45 minutes into an office happy hour. The choice of moodily distorted vocals feels especially dated; putting humanoid whale moans in an album’s first moments, as Swift and Antonoff have done, is like opening an IPAs-and-bacon bar in 2022. Transcending expectations is its own expectation, and Midnights makes clear, with modest poignance, that Swift has burned out on her own hype.

Taylor Swift revealed very little about her 10th studio album, “Midnights,” before it was released on Friday – she didn't sit for any interviews and just ...

In “Anti-Hero,” that honor went to the line, “Sometimes I feel like everybody is a sexy baby / And I’m a monster on the hill.” This was a new level of candor from an album that, as [multiple critics](https://www.independent.co.uk/arts-entertainment/music/reviews/taylor-swift-review-midnights-lyrics-b2207166.html) agreed in [early reviews](https://www.rollingstone.com/music/music-album-reviews/taylor-swift-midnights-1234611211/), was pretty dark music for Swift. “I’ll stare directly at the sun, but never in the mirror. “Not to sound too dark, but, like, I just struggle with the idea of not feeling like a person.” But you know, this song really is a real guided tour throughout all the things I tend to hate about myself. [usual cryptic hints](https://www.washingtonpost.com/arts-entertainment/2022/10/20/taylor-swift-midnights-easter-eggs/?itid=lk_inline_manual_2) about what fans could expect.

(AP) -- Taylor Swift “Midnights,” (Republic Records). “All of me changed like midnight,” Taylor Swift confesses halfway through her latest album, ...

Critics praise the "fantastic songs" on Midnights, but some add there is "not a smash hit in sight".

On the twinkly Bejeweled she announces that she's "going out tonight", but the beats remain sleepy and sluggish. Swift's always as elusive as she is allusive." Swift is currently gearing up for a busy few months. Otherwise Midnights sounds ready for bed." All the while she keeps things just cryptic enough to keep the tension crackling and the speculation buzzing. But it also sees her re-engage her pop sensibilities, with lyrics that explore more personal subject matters. "As Swift has returned to her archive for to undertake the project of re-recording her previous albums, it's clear slipping back into her past self has unlocked something brilliant and fresh in her songwriting," she wrote. "The subtle melodies of Midnights take time to sink their claws in," she added. "But Swift's feline vocal stealth and assured lyrical control ensure she keeps your attention. [the Guardian's Alexis Petridis said](https://www.theguardian.com/music/2022/oct/21/taylor-swift-midnights-review-small-hours-pop-rich-with-self-loathing-and-stereotype-smashing) Midnights "delivers her firmly from what she called the 'folklorian woods' of her last two albums back to electronic pop". Midnights is the 32-year-old's first original album in two years and sees her return to a more mainstream sound than the more muted, acoustic tone of her previous two albums. The Guardian said Midnights is a "cool, collected and mature" record which is "packed with fantastic songs".

Vigilante Shit,” off Taylor Swift's new album 'Midnights,' is Swift once again wielding her pen to settle scores. This time, she targets Scooter Braun in a ...

[A half-hearted statement](https://www.vulture.com/2022/09/scooter-braun-taylor-swift-masters-regret.html) about his “regret” around the deal.) The fight over her masters had already been a winning issue: Swift came in exponentially more famous and beloved than Braun, [her rerecordings have only made her more so](https://www.vulture.com/2022/10/taylor-swift-rerecorded-albums-which-album-is-next.html), and the idea that an artist should own her music adds up logically and morally. [ she wrote alone](https://www.vulture.com/2022/10/taylor-swift-midnights-song-writers-credits-zoe-kravitz.html), Swift is at her venomous best. On “Vigilante Shit,” the only song on Midnights that She’s skeptical, almost mocking, when she sings, “Ladies always rise above,” in the bridge, but at the same time, that’s her attitude here. It’s a signature Swift earworm, but it’s also a motto for her celebrity. Elsewhere, she surveys the fallout from her claim on “mad woman” that [Braun, now divorced](https://www.vulture.com/2021/07/scooter-braun-divorcing-wife-yael-cohen.html), is a cheat. “Draw the cat eyes sharp enough to kill a man,” she sings, and then adds a few lines later, “They say looks can kill, and I might try.” She’s past the reflections of “mad woman” and onto throwing barbs. She’s not rising above the drama, but she is carrying herself as the winner. [Midnights, Swift’s tenth album](https://www.vulture.com/2022/10/taylor-swift-midnights-album-stream.html). “I didn’t have it in myself to go with grace / ’Cause when I’d fight, you used to tell me I was brave,” Swift sang on “my tears ricochet,” seemingly to Scott Borchetta, her former champion who first signed a teenage Swift to his Big Machine label before later overseeing the sale of her catalogue to her chief nemesis, Scooter Braun. The provocatively titled “Vigilante Shit” seems to revisit [the Braun-Borchetta drama](https://www.vulture.com/2019/11/taylor-swift-scooter-braun-and-borchetta-feud-explained.html) head-on while also returning to the scorekeeping, revenge-seeking Swift we thought we might have seen the last of during folklore and evermore. Swift’s message to Braun, though, was even clearer: “I’m takin’ my time / Takin’ my time / ’Cause you took everything from me,” she sang on “mad woman.” Still, these songs were cloaked in the fictional haze of that era, far from a direct response.

U.S. music superstar Taylor Swift released her 10th studio album "Midnights" on Friday, as well as additional tracks made during the record making process.

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Featuring 13 songs and collaborations, Taylor Swift's 'Midnights' was released on 21 October and marks her 10th studio album.

The announcement of “ She said, “And I guess theoretically when you’re in the lavender haze, you’ll do anything to stay there and not let people bring you down off of that cloud.” With Midnights, it’s a return to the pop genre for her. She also shared a video revealing that if one collects all four album covers, it actually turns into a clock when arranged in a square. She calls it one of her favourites that she’s written so far. “Karma” “Question…?” “Anti-Hero” Since August, Swift slowly trickled down information and released small snippets of what the music album would be like. “Maroon” Swift dropped hints over the last couple of months but had essentially remained tight-lipped about the songs and tracklist. Just when curious fans were up for yet another re-recording of her old albums, she announced her 10th studio album Midnights at the 2022 VMA Awards on 28 August.

As pop fandoms go to battle on social media wielding data about their favorite stars, Metascores averaging critical opinions have become ammunition, ...

— where he previously worked — and its [Next Gen stats platform](https://nextgenstats.nfl.com/), noting, “There is a greater crossover between sports fans and music fans today.” [top artists of the decade list](https://www.metacritic.com/feature/best-music-of-the-decade). “People used Metascores as an argument settler, a metric to put in each other’s faces,” Doyle said. 2” ranked highest with a Metascore of 90, while Juliana Hatfield’s “Pony: Total System Failure” landed lowest with a Metascore of 25. “We’re a professional outfit.” The site makes money from advertising, licensing Metascores and affiliate revenue. Passionate fan armies keep careful track of the scoreboard, and one of the most fervent is devoted to Swift, who will release her 10th studio album, [“Midnights,”](https://www.nytimes.com/2022/08/29/arts/music/taylor-swift-new-album-midnights.html) on Friday. Before they are averaged, the scores are weighted according to the critic’s perceived prestige and volume of reviews. If it’s not a case of plagiarism or fraud (which usually is self-reported from a member publication), such appeals are generally unsuccessful.” “Once you get to four reviews, then you generate the Metascore, which is an average score.” For the games section, the site sends outlets a list of questions “so you can really get to know their scoring philosophy,” he added, a process it has only recently started “for potential movies section partners.” “Every time they publish a review, you throw it in the system,” he said. Metacritic went live in January 2001 with a film vertical and a rundown of how its staff calculated Metascores. “There’s nothing quite like Taylor Swift,” Marc Doyle, 51, one of the site’s founders, said in an interview last week.

Her 10th album is a culmination of 16 years in the spotlight, and Taylor Swift leaves nothing unsaid.

Like a knife to the gut, “Anti-Hero” is an instant self-hate anthem for the ages. Swift is cut open, bleeding to the world in this song, proclaiming herself a “monster” in a sea of “sexy babies” (it makes sense, trust us). I’m the problem, it’s me”

On the heels of her highly anticipated album 'Midnights' and the world premiere of her new music video for “Anti-Hero,” fans around the world can now visit ...

Swift also has five music videos in YouTube’s Billion Views Club, two of which (“ [Shake It Off](https://www.youtube.com/watch?v=nfWlot6h_JM)” and “ [Blank Space](https://www.youtube.com/watch?v=e-ORhEE9VVg)”) are part of a small group of videos to have crossed the 3 billion views mark. For the first time ever, Swift is inviting her fans around the world to share their anti-heroic traits to the soundtrack of the newly released track, “ [Anti-Hero](https://www.youtube.com/watch?v=b1kbLwvqugk),” only on YouTube Shorts. Her music has charted on YouTube’s Top Songs chart in over 50 markets, and her recent release of [“All Too Well [10 Minute Version] (Taylor’s Version)”](https://www.youtube.com/watch?v=tollGa3S0o8) peaked at #1 on the Global and US charts. Once you’re ready, head over to YouTube Shorts to start your own #TSAntiHeroChallenge creation and follow these simple steps: An anti-heroic trait could be as simple as always grabbing the last slice of pizza, clapping at the end of movies, always putting your feet on the car dashboard, using the same word to start your daily Wordle, leaving your clean laundry in the basket until the next time you do it, pretending you didn’t already watch the next episode of the series you watch with your pals, or even treating your cat like a human. The #TSAntiHeroChallenge is inspired by one of Swift’s favorite songs ever written, track #3 on her new album.

Taylor Swift joined YouTube Shorts and unveiled the #TSAntiHeroChallenge as part of a multistage launch for her new album "Midnights."

Swift also has five music videos in YouTube’s Billion Views Club, two of which (“Shake It Off” and “Blank Space”) are part of an elite group of videos to have crossed the 3 billion views mark. [the first music video from the album](https://variety.com/2022/music/news/taylor-swift-anti-hero-music-video-funeral-1235410798/), takes an inward journey as Swift delves deep into her insecurities as an artist and as a person, ultimately sharing how to show up in this world as one’s true and authentic self. Swift’s music has charted on YouTube’s Top Songs chart in more than 50 markets, and her recent release of “All Too Well [10 Minute Version] (Taylor’s Version)” peaked at No. In the past 12 months, her channel has generated more than 3.95 billion views, according to YouTube. Variety‘s Chris Willman, in his [review of the album](https://variety.com/2022/music/album-reviews/taylor-swift-midnights-album-review-1235410102/), wrote that “possibly the finest moment in ‘Anti-Hero’ is the subtle delivery she lends to the last stanza, where she repeats the refrain, ‘It’s me, hi, I’m the problem, it’s me,’ sounding out of breath, as if she’d just had to rush through the door to make this random, bald admission. [Taylor Swift](https://variety.com/t/taylor-swift/) has joined [YouTube](https://variety.com/t/youtube/) Shorts [as part of a multistage launch for her new album “Midnights,”](https://variety.com/2022/music/album-reviews/taylor-swift-midnights-album-review-1235410102/) unveiled the #TSAntiHeroChallenge — designed to push the platform’s TikTok-like short-form video feature.

The pop singer confronts her own flaws and calls everyone a “sexy baby” on the lead single from Midnights.

[1989](https://pitchfork.com/reviews/albums/taylor-swift-1989/), the neurotic image analysis of [reputation](https://pitchfork.com/reviews/albums/taylor-swift-reputation/), the dense lyricism of [folklore](https://pitchfork.com/reviews/albums/taylor-swift-folklore/) and [evermore](https://pitchfork.com/reviews/albums/taylor-swift-evermore/). But after so many years of defending the moral high ground—from ex-boyfriends, [rappers](https://pitchfork.com/news/66882-taylor-swift-kanye-and-kim-are-lying-committing-character-assassination/), [label executives](https://pitchfork.com/news/taylor-swifts-music-ownership-controversy-with-scooter-braun-what-it-means-and-why-it-matters)—Swift [started to admit](https://www.youtube.com/watch?v=8KpKc3C9V3w) her own fallibility. Swift and trusted collaborator [Jack Antonoff](https://pitchfork.com/artists/32408-bleachers/) keep the production simple—a methodical drum loop, simmering synths—focusing in on a series of vignettes in which Swift is haunted by past mistakes.

Taylor Swift released the music video for “Anti-Hero.” It also stars Mike Birbiglia, John Early, and Mary Elizabeth Ellis as Swift's sparring family at her ...

That vision comes to life in the “Anti-Hero” music video, with help from costars [Mary Elizabeth Ellis](https://www.vulture.com/2016/03/gilmore-girls-vulture-tv-podcast.html) (It’s Always Sunny in Philadelphia), [John Early](https://www.vulture.com/2017/12/john-early-profile.html) (Search Party), and [Mike Birbiglia](https://www.vulture.com/2019/11/mike-birbiglia-new-one-netflix-comedy-review.html) (stand-up comedy) as Swift’s sparring family, left with nothing at her funeral. There is no secret encoded message that means something else.” It’s the first installment of [Swift’s star-studded visual album for Midnights](https://www.vulture.com/2022/10/taylor-swift-midnights-theories-clues-tiktok.html), which is also set to feature Laura Dern, Dita Von Teese, and the Haim sisters, among others. [As Taylor Swift told us on “Anti-Hero,”](https://www.vulture.com/2022/10/taylor-swift-midnights-album-stream.html) she has this pretty specific dream about her daughter-in-law killing her for the money, even though Swift didn’t even leave her any in the will. “Anti-Hero,” meanwhile, also stars a rowdy clone of Swift, a giant monster-on-a-hill version of Swift, and a bunch of ghosts. [Ranking Taylor Swift’s Swear-iest Midnights Lyrics](//www.vulture.com/2022/10/taylor-swift-sweariest-midnights-lyrics.html) [Everything We Know About Taylor Swift’s Midnights](//www.vulture.com/2022/10/taylor-swift-midnights-theories-clues-tiktok.html) [Taylor Swift Has Clocked In and Finally Released Midnights](//www.vulture.com/2022/10/taylor-swift-midnights-album-stream.html) [See All](//www.vulture.com/tags/midnights) “Yeah, yeah, yeah, that’s what mom would always do,” Birbiglia’s Preston agrees, before reading the postscript to her will: “P.S.

New album makes it clear that Swift has taken a step forward in the indie-pop genre.

But Swift presents “Midnights” as something different: a collection of songs that don’t necessarily have to go together, but fit together because she has declared them products of late night inspiration. Track one, “Lavender Haze,” pairs a muffled club beat and high-pitched backing vocals from Antonoff with stand-out, beckoning melody from Swift. And like always, we’re just along for the thrilling late-night ride. [the 13 tracks of “Midnights,”](https://apnews.com/article/what-to-stream-October-2022-midnights-music-movies-TV-f70b362a01e904e5b23adeb62c822dd0) a self-aware Swift shows off her ability to evolve again. “Midnight Rain” could be a thesis statement for the project she’s described as songs written during “13 sleepless nights,” an appropriate approach to the concept album for someone who has long had a lyrical appreciation for late nights (think “Style”: “midnight, you come and pick me up, no headlights…”). The song’s chorus begins: “He was sunshine, I was midnight rain.” And continues: “He wanted it comfortable, I wanted that pain.

Taylor Swift's latest album “Midnights” has dropped, and it might be setting a new standard for China's digital music industry. Within a day of its release, ...

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New album makes it clear that Swift has taken a step forward in the indie-pop genre.

But Swift presents “Midnights” as something different: a collection of songs that don’t necessarily have to go together, but fit together because she has declared them products of late night inspiration. Track one, “Lavender Haze,” pairs a muffled club beat and high-pitched backing vocals from Antonoff with stand-out, beckoning melody from Swift. And like always, we’re just along for the thrilling late-night ride. [the 13 tracks of “Midnights,”](https://apnews.com/article/what-to-stream-October-2022-midnights-music-movies-TV-f70b362a01e904e5b23adeb62c822dd0) a self-aware Swift shows off her ability to evolve again. “Midnight Rain” could be a thesis statement for the project she’s described as songs written during “13 sleepless nights,” an appropriate approach to the concept album for someone who has long had a lyrical appreciation for late nights (think “Style”: “midnight, you come and pick me up, no headlights…”). The song’s chorus begins: “He was sunshine, I was midnight rain.” And continues: “He wanted it comfortable, I wanted that pain.

The singer released her highly anticipated album Midnights last night at (of course) midnight. On the track “Vigilante Shit,” Swift returns to her Reputation- ...

[Bella Hadid](https://www.vogue.com/article/bella-hadid-met-gala-2017-red-carpet-dress-alexander-wang?mbid=social_twitter) was sewed into for the 2017 Met Gala. On the track “Vigilante Shit,” Swift returns to her Reputation-era themes of vengeance, with the refrain “lately I’ve been dressing for revenge.” Ah, the fantasy of looking absolutely perfect in front of someone who has wronged you. The singer released her highly anticipated album Midnights last night at (of course) midnight.