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Taylor Swift Really Hates Matty Healy, and Also Maybe Us



Taylor Swift Really Hates Matty Healy, and Also Maybe Us

However in The Tortured Poets Division Swift appears to goal her weapons squarely at her personal creation: her followers’ deep parasocial relationship along with her. The schism, it seems, came to visit her extraordinarily ill-fated whirlwind fling with The 1975’s Matty Healy. If you happen to had been residing below a rock, a short synopsis: Swift broke up with Alwyn, instantly began relationship bad-boy rocker Healy, could or could not have mentioned she cherished him onstage, followers started to rage towards him on-line for his myriad racist and sexist remarks, after which they break up. She then began relationship Kelce, and plenty of followers who had been mad at her for relationship, of their estimation, a scumbag like Healy shortly forgave her for the misstep and embraced her new Americana love story.

Healy, to mainly everybody’s shock, is the primary antagonist of The Tortured Poets Division, as an alternative of Alwyn, who will get barely a point out as compared. It appears their fling was, in a nutshell, extraordinarily poisonous and ended very poorly, and Swift appears extraordinarily bitter about the entire thing and the way he handled her. In a single music, titled “The Smallest Man Who Ever Lived,” she lets him have it.

“You’re what you probably did / And I will neglect you however I will by no means forgive / The smallest man who ever lived,” she sings.

However an equally biting missive appears to be geared toward a stunning goal: The followers who thought they knew higher than she did about her relationship with Healy. Titled “However Daddy I Love Him,” Swift accuses these judging her relationship as ”essentially the most judgmental creeps / Who say they need what’s greatest for me / Sanctimoniously performing soliloquies I will by no means see.”

“I’ll inform you somethin’ proper now, I might somewhat burn my entire life down, than pay attention to 1 extra second of all this bitchin’ and moanin,’” she sings. “I’ll inform you somethin’ ‘bout my good identify. It is mine alone to shame. I do not cater to all these vipers wearing empath’s clothes.”

Okay, certain. However truthfully, what did she count on? Swift has spent her complete profession constructing what she now has: an empire of a fandom with maybe essentially the most parasocial relationship to parasocial in historical past. Her followers assume they will advise and criticize and choose her as a result of that’s the relationship she has constructed with them, as not a pop icon however a buddy who understands them on a deeper degree. And it appears for essentially the most half she enjoys the monoculture she has constructed, when it’s giving her accolades and making her a billion {dollars}. In spite of everything, with Kelce, she is extra out within the open than ever, and apparently loves it.

In fact this has penalties! In fact typically her fandom—which is ceaselessly jokingly in comparison with QAnon or a cult for its devotion—feels entitled to really feel personally affected by her admittedly poor selections. If Swift needs *waves fingers* all this, she has to simply accept that her life will not be 100% hers anymore. How can it’s?

If you happen to’re a Swiftie feeling unhappy about this although, don’t be. It seems the fad Swift felt was really only a temporary second in time. Within the album’s “prologue,” she seems to be talking on to her followers, admitting that she was flawed, and asking them for forgiveness.

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