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So for evermore its clear taylor took a lot of inspo from emily dickinson famous lesbian poet for her evemore album. this inlcudes visuals and lyrics associated with the album. specifically the outfits, photoshoots and very specifically the song ivy and also evermore was released on emily dickinsons birthday.

And for the tortured poets department its a similar becuase its clear she has taken inspiration from mainly virginia woolf who had rumored lesbian relationships and also some inspiration from mary shelley who was rumored to be bisexual. its clear for certain songs they lyrically carry the vibe of virginia wolf. and for the fortnight mv its clear mary shelley was the inspiration.

now for a future album maybe ts12 as it has a more vibrant and lilac/ violet/ pinks, blush and gold toned aesthetic based on recent outfits and easter eggs. I would love for her to continue this theme of dedicating albums to famous queer female writers and poets!! for ts12 I would love to see it based around sappho. I would love for it to have a ethereal garden poet vibe with lots of floral imagrey and silkly flowy elements.

I just think this would be a nice way to continue this theme of using queer writers as inspiration for albums!! and would love to see a sappho inspired album.

( I couldn't pinpoint any clear queer writer inspirations for folklore or midnights so if you know of a queer writer or poet who is tied to those albums please let me know)!!

links to other sources and analysis!!!

For nearly two decades, Taylor Swift has orchestrated the art of reinvention—from a fresh-faced country prodigy to a global pop powerhouse, from America’s golden girl to a self-proclaimed anti-hero. Each era has been a transformation, each reinvention a shield. Yet, beneath the carefully curated personas, the shifting aesthetics, and the highly publicized relationships, one unspoken question lingers: Who is Taylor Swift, really?

The theory that Swift is queer and closeted—the heart of the “Gaylor” conversation—isn’t about unfounded gossip. It’s about the systems that shape an artist’s image, the forces that dictate what is and isn’t acceptable, and the very real cost of authenticity in an industry that thrives on marketability over truth.

To understand this, we have to look beyond Swift herself. We have to examine country music’s history of closeting artists like the fallout that followed Chely Wright’s coming out and the impossible balancing act Swift has performed for years.

This is a story about control, coded storytelling, and the glass closet Taylor Swift has spent her career trying to break free from—without ever shattering it completely. It's a story of paving the path for a brighter, louder, more colorful future because one thing is for sure...

SHADE NEVER MADE ANYBODY LESS GAY!

The Early Aughts + Country Music Stardom: A Foundation Built on Silence

Country music has long been one of the most traditionally conservative genres in the music industry. With a core audience rooted in Middle America values, the genre has historically upheld white, heterosexual, Christian narratives as the foundation of its storytelling.

Even in 2025, there are only a handful of openly queer country artists, and most of them struggle to receive mainstream recognition. Artists like Brandi Carlile, T.J. Osborne (Brothers Osborne), and Brandy Clark have helped pave the way, but country radio still hesitates to fully embrace LGBTQIA+ voices.

In this world, being an openly queer artist isn’t just risky—it’s career-ending.

And no one embodies that reality more than Chely Wright.

Chely Wright: A Warning from the Closet

In 2010, Chely Wright became the first mainstream country artist to come out as lesbian and it destroyed her career.

Wright was a hitmaker, with #1 songs and major industry recognition. She had everything an artist could want—until she told the truth.

Country radio blacklisted her.

Venues stopped booking her.

Her album sales tanked.

The industry that once celebrated her pretended she never existed.

Her story became a cautionary tale—a stark warning that country music does not embrace queer artists. It erases them.

By 2010, Taylor Swift was already a superstar. If she was questioning her sexuality—or even fully aware of it—she had already been placed in a carefully controlled box.

Unlike Wright, Swift’s departure from country music wasn’t an exile—it was an escape. But that escape wasn’t just about genre. It was about control. It was about building a world where she could reinvent herself while keeping parts of her identity just out of reach.

A Different Perspective: Chely Wright’s Discomfort with Speculation

When The New York Times published an essay on the Gaylor theory, I was surprised to find that Chely Wright herself expressed discomfort with the way Taylor Swift’s sexuality is discussed in public. Wright called the piece “awful” and “triggering”, criticizing the newspaper for engaging in speculation. Given that Chely’s story has long been a major point of discussion in the Gaylor community, her response was jarring. At first, it made me question whether using her experience as a lens for understanding Taylor’s career was appropriate.

But upon deeper reflection, her reaction makes sense. Chely Wright’s coming-out experience was deeply traumatic—she spent years hiding, lying, and carefully constructing a false image to survive in country music. And when she finally told the truth, her career collapsed overnight. For Wright, the mere act of publicly discussing another artist’s sexuality—whether as support or analysis—might feel like the same kind of external pressure she once faced.

However, there is an important distinction: The Gaylor conversation is not about forcing a label onto Taylor Swift. It’s about analyzing the subtext Swift has deliberately embedded in her work. If Taylor wasn’t queercoding her music, this conversation wouldn’t exist in the first place.

It’s also crucial to recognize that the industry forces that once silenced Wright are the same forces that shaped Swift’s career. While Wright may reject this discussion entirely, that doesn’t change the reality that Taylor’s work is filled with coded storytelling—suggesting she is navigating the same strict boundaries but in a different way.

Wright’s response to the op-ed highlights a larger cultural question: Why does queerness still have to be treated as a secret, while speculation about straight relationships is encouraged?

Why Is Speculating About Queerness Seen as Different?

One of the biggest criticisms of the Gaylor theory is that it’s “invasive” to speculate about Taylor Swift’s sexuality. But where is the line between analyzing queer themes in her work and being inappropriate? Why do Swifties who push back against this theory have no problem speculating about her relationships with men?

This is where the double standard comes into play.

Taylor Swift fans have spent years digging into her personal life—analyzing lyrics, finding Easter eggs, and debating which songs are about which boyfriend. Entire media cycles have been built on this:

Is "All Too Well" about Jake Gyllenhaal?

Is she secretly engaged? Was she secretly married?

Was "You Belong With Me" about Joe Jonas?

These questions are not only accepted— they're expected.

But when Gaylors apply the same level of analysis through a queer lens, suddenly, it’s labeled “invasive” and “harmful.” The message is clear: It’s only okay to speculate if the answer is straight.

To me, this is an outdated view to force straightness onto someone while also claiming that sexuality is a spectrum. Given Taylor’s layered storytelling, it feels necessary to allow her to exist on that spectrum—where maybe some of her stories are not what they seem.

As we know, Taylor Swift spent the early years of her career operating under the rigid gender norms of country music, a world where women were expected to sing about heterosexual romance, faith, family, and small-town nostalgia. But as her success grew, so did her desire for creative control—and possibly, her need to carve out a space where she could express herself more authentically, even if only in coded ways.

Her transition to pop wasn’t just about breaking genre boundaries—it was about escaping Nashville’s conservative grip and stepping into a world where reinvention, subtext, and ambiguity could thrive. And she made that clear from the very first song on 1989.

“Welcome to New York”: Taylor’s Break from Nashville & Living In Screaming Color

"You can want who you want / Boys and boys and girls and girls."

This wasn’t just a throwaway lyric. It was the loudest queer-coded statement she had ever made—and it opened the album that marked her escape from country music’s restrictions.

This is also the era that she gave us New Romantics and Out of the Woods with lyrics like, "The rest of the world was black and white but we were in screaming color."

Many Gaylors believe that Red (2012) was already a queer-coded album, with songs about a secret relationship—possibly with Dianna Agron—hidden behind PR relationships with men. But in 2014, she took it a step further:

She stopped centering men in her music.

She built a “girl squad” narrative that celebrated female friendships—but felt, at times, like something more.

She became more private—hiding her personal life while crafting an ultra-public, ultra-marketable persona.

If Red was about testing boundaries, 1989 was about reinvention as a shield. From this moment forward, Taylor would never again present her personal life without layers of control.

Reinvention as Survival: The Dual Taylors

Swift has reinvented herself with every era, but this reinvention isn’t just about artistic evolution—it’s been a survival mechanism.

She constantly presents two versions of herself—the one the public sees, and the one hidden beneath the surface.

This is the essence of the glass closet—where an artist can leave clues, drop hints, and tell the truth without ever being forced to say it outright.

Why Taylor Swift’s Closet Is Different

Unlike Chely Wright, Swift never had to lose her career over her sexuality—but that’s because she never let it become the story in the first place. The longer she hints, codes, and subtextually confesses, the veil gets thinner.

When she says “ME! out now” on Lesbian Visibility Day, people still think it’s a coincidence. When she plays "Maroon" on Karlie's birthday, it doesn't mean anything. Somehow, even when a song with such an obvious rhyme scheme as "The Very First Night" all but hits you over the head alluding to a female pronoun in a love song, Swifties turn the other cheek and deny the obvious.

She has spent 20 years writing about love—but to the general public, that love has only been for men. For those who see through the lines, she has been communicating her real experience the entire time.

Swift’s public relationships always seem to appear when speculation about her queerness reaches a peak. The Summer of Lover 2019? Joe Alwyn’s presence is reinforced. The Midnights era? Enter Matty Healy, a quick PR cycle that fizzled just as fast as it began. And now, in 2024, with The Tortured Poets Department drenched in queer themes? Travis Kelce is front and center. Whether these relationships are real, exaggerated, or entirely contractual, they always serve a purpose—to keep the glass closet from completely shattering.

The Power of Subtext in the Mainstream

In many ways, Taylor has done something radical—she’s embedded queerness into mainstream pop culture in a way that allows it to exist without being outright rejected.

Before her, queerness in the industry was often either completely hidden or presented in a hypersexualized, rebellious way that still played into the male gaze (see: Madonna and Britney’s VMAs kiss, Katy Perry’s “I Kissed a Girl”).

Taylor’s approach is different. Her queerness isn’t a spectacle—it’s woven into love songs, metaphors, and heartbreak anthems, allowing it to be as deeply felt and widely consumed as straight narratives.

For younger artists, this has cracked open the door.

Queer Artists Who Have Benefited from the Shift

Artists who emerged in the post-Taylor pop landscape now have far more room to exist as their authentic selves. Many don’t have to code their queerness the way Taylor does, and that’s partially because her queer-coding forced the industry to acknowledge that queer narratives could be commercially successful.

Examples of artists who have benefited from this shift include:

Kelsea Ballerini – A country-pop artist and close friend of Taylor Swift, Kelsea has been a vocal LGBTQIA+ ally, advocating for inclusivity in a traditionally conservative genre. While not publicly queer, her embrace of queer narratives and shift toward pop mirrors Swift’s own path, signaling a slow but growing evolution in country music.

Girl in Red – Explicitly queer in both image and lyricism, yet embraced by the same industry that would have never allowed Taylor to be this open in 2006.

MUNA – An openly queer pop band that has been able to build mainstream success without needing to obscure their identities.

Billie Eilish – After coming out as queer in 2023, Billie has embraced her identity without industry pushback, reflecting the shifting landscape Taylor helped shape. Her openness marks a new era where pop stars no longer need to rely on subtext or plausible deniability to exist authentically.

Chappell Roan – The most recent example of a queer artist who is making waves in the pop scene—heavily inspired by the theatrical elements of Taylor Swift’s songwriting and world-building.

Would any of these artists have been able to flourish in the mainstream ten years ago? Unlikely. Taylor’s massive, industry-defining career—and the queer interpretations of her work that have never been shut down entirely—helped normalize the idea that queerness doesn’t have to be a commercial risk.

The Unfinished Revolution: Taylor’s Influence on the Future of Queer Storytelling

Taylor Swift’s position in pop culture is unique—she is arguably the most famous person in the world, yet her true identity remains one of the most debated subjects in modern music.

This paradox—existing in a glass closet while simultaneously paving the way for others to live openly—is what makes her influence so undeniable.

Taylor Swift may never fully break out of the closet herself—but she has already blown the door open for others to walk through.

She has spent two decades bending the rules of the industry, proving that queer-coded storytelling is not just marketable but deeply resonant. The next generation of artists doesn’t have to bend the way she did—they can step into the spotlight and tell their stories without hiding behind mirrors and metaphors.

Taylor may be trapped in the glass closet, but the industry she reshaped will never be able to shut the door again.

If you were unaware, the song "The Albatross" is quite possibly a reference to the Lesbian periodical by the same name, or at least... Albatross' are a super gay symbol that inspired both Taylor and the periodical.

But when I went to put that in a Gaylor video I'm working on, I realized this was on the cover:

It seems like there was a nickname for the Albatross: 'tross.

And I'm certain this is just a coincidence but it is hilarious to me that one of the ship names for Ross Travis and Travis Kelce is Tross.

(tho I personally prefer TNT or Ross Travis Kelce)

Someone might've found this already—I don't remeber, but like... look at it...

There's of course this gem too, just for posterity.

*I do not claim to know the sexuality of Taylor swift. I simply think interpreting her lyrics from a gaylor perspective is more interesting and leads to interpretations of her music I personally find more impressive and complex.*

At this hearing

I stand before the fellow

Members

Of the Tortured Poets Department

(Ok so we are establishing that Taylor is a member of the tortured poets department and she is talking directly to the other members. This is important because it sets the whole context of the album. She is a tortured poet, and this album is for other tortured poets. Why is she tortured though?)

With a summary of my findings

A debrief, a detailed rewinding

For the purpose of warning

For the sake of reminding

(She wants to warn us about something by reminding us of what’s happened so far. Got it.)

As you might all

Unfortunately recall

I had been struck with a case

Of restricted humanity

Which explains my plea here today

Of temporary insanity

(To me, restricted humanity reads as fame. Taylor talks regularly about feeling caged by fame and like she’s not treated like a person. So fame has been restricting her humanity and it’s made her do something crazy.)

You see, the pendulum swings

Oh, the chaos it brings

Leads the caged beast to do

The most curious things

(Pendulum swings = what goes around comes around, time keeps on moving…. The word “curious” here is very interesting to me, because that’s a word so commonly associated with being in the closet- as well as its connection to Wonderland and the line “don’t you know what becomes of curious minds”. Taylor has done “curious” things before in her time in the spotlight. The cage is still her fame.)

Lovers spend years denying what’s ill fated

Resentment rotting away

Galaxies were created

(Lovers is an interesting word to use here because of the obvious connection to her past music! Now, why are the lovers Ill fated? Were they destined to not work out, and if so, why? What’s keeping them apart?

Resentment rotting away- Taylor’s resentment, or both of theirs? The obvious interpretation of this section of the poem is it’s about her and Joe’s failing relationship. But if we’re taking the gaylor perspective here- I think this section could very well describe being in love with someone you can’t be with, and the resentment that builds up as you see them move on with their life and even get married and have kids.

Galaxies were created reminds me of the lavander haze music video where Taylor created galaxies in her lovers back, and also of the Mastermind vinyl in her room in Lavander Haze with the constellations on it. To my ears, these galaxies are the stories she’s creating for the public. Her public romances, her relationships with the men she’s bearding with. She’s the one who put her and Joe’s constellations together in Lavander Haze, she’s the mastermind who’s created these galaxies.)

Stars placed and glued meticulously by the ceiling fan

(The galaxies are fake! She’s created them from her room, or her prison. She’s meticulously crafted these romances or stories with these men, but they’re not the real thing. )

Tried wishing on comets

Tried dimming the shine

Tried to orbit his planet

Some stars never align

(What is she wishing for? Could be her and Joe to work. Or it could be freedom? Or to be like everyone else? Or to be with her lover? Tried dimming the shine- the shine of what? To me this line is very easy to interpret from a gaylor lense. “Tried dimming the shine,” to my ears, implies dimming down who she really is, dulling the truth, hiding her true colors. Why couldn’t she orbit his planet when they were in a relationship for 6 years? It could certainly be it was a toxic relationship, could it also be that the “him” doesn’t matter, she can’t make that relationship work because it’s with a man? Regardless of the reason, she tried to make this relationship work but couldn’t. The stars never aligned. I also think it’s interesting That we’ve already discussed that the sky is fake, she meticulously created it next to her ceiling fan. So does she have control over these stars? Could it be that she never wanted the relationship, that’s why those stars could not align, because she, the one meticulously placing them, did not line them up? Was the end of the relationship part of a plan?)

And in one conversation

I tore down the whole sky.

(Again, the sky is fake, it’s the meticulously crafted relationships she’s created with these men or in this case Joe. In one conversation, she ended it all. I do think conversation is a notable word choice here, it implies civility and almost a sense that the moment is casual. This was not a fight, not a devastating breakup, they had a conversation and she tore up the whole story she created, or ended their bearding relationship.)

Spring sprung forth with dazzling freedom hues

(This is possibly the most gaylor line of the poem in my opinion. It also reminds me of the line in Ivy where she says “spring breaks lose, time is near.” I think it’s relevant that in gaylor lore, the summer around Lover is when we thought Tay was going to come out, but it got ruined by the masters heist, so we’ve regularly referred to that summer as her “sparkling summer.” The summer when she wore bright colors and rainbows and released Me! This is not the same spring, obviously, but I do think summer has significant metaphorical meaning in the Taylor verse one way or another. So, back to where we were, Taylor ends her bearding relationship with Joe and spring breaks forth in beautiful freedom hues. She’s not at all sad about the end of this relationship, it’s freedom.)

Then a crash from the skylight bursting through

(Interesting! Something real. If the ceiling galaxies represents fake relationships, is something crashing through the skylight representative of something real? Real emotions… I also think this ties in with the lavander haze music video, where she tears down the walls to discover galaxies of koi fish outside.)

Something old,

Someone hallowed,

Who told me he could

be brand new

(I’m not gonna lie, this is one of the harder lines to interpret from a gaylor perspective, it does seem obviously Rathew Healy coded. But, let’s break it down anyways. It’s notable that this section is a play on the wedding phrase, “something old something new something borrowed something blue.” Which of her possible muses has gotten married? I can think of one. Something old seems to reference a past relationship, it could also be a reference to something that’s been with her all along, a feeling, or a secret, that she’s always had. Someone hallowed- empty, this person is a shell. He told her he could be brand new. I think there are a few ways to interpret this. The obvious seems to be that a past relationship came back and told her he could be different this time. Could it also be that old feelings came up and crashed through her skylight, or through her constructed relationships, and she needed a new shell, or puppet, to conceal them? Was the shell saying he could be brand new offering to be whatever Taylor needed him to be?)

And so I was out of the oven

And into the microwave

(Taylor was preparing something, she was getting ready for something, but she had to rush it.)

Out of the slammer

And into the tidal wave

(The obvious interpretation is that the slammer is her relationship with Joe and the tidal wave is Matty, hence guilty as sin. However, what she’s saying at the core here is that as soon as she’s free, she’s in danger. Freedom will drown her. )

How gallant to save the empress from her guilded tower

Swinging a sword he could barely lift

But loneliness struck at that fateful hour

Low hanging fruit on his wine stained lips.

(Now I actually do believe this section is about Matty! He “saved” Taylor, took on a bearding relationship with her, but he couldn’t handle the responsibility. I think it’s very telling that she says loneliness struck. If they were in a real relationship, one that was a close and intense and passionate as she describes throughout this album, why is loneliness what tore them apart? Why were they lonely if they were twin flames? To me, the answer that makes the most sense is they were not. This relationship was not real, either. She got out of the prison of her bearding relationship with Joe and into the tidal wave of chaos that was a bearding relationship with Matty, but they were still both lonely in the end. And that loneliness drove him to say something drunkenly she couldn’t forgive. What low hanging fruit did he reach for? What nerve did he strike?)

He never even scratched the surface of me.

None of them did.

(This seems extremely telling from a gaylor perspective. NONE of them. Not a single one of these men truly understood Taylor. I do think it’s worth noting that Travis songs are on this album, and she does not say, ‘none until him,’ or even include Travis in this prologue. none of the men have scratched the surface of her, period.)

“In summation, it was not a love affair!”

I screamed while bringing my fist to my coffee ringed desk

(She’s screaming at us that this album is not about a love affair, and none of what happened was real love or romance. Her desk is coffee ringed because she’s been there a long time, writing, trying to explain herself.)

It was a mutual manic phase.

It was self harm.

It was house and then cardiac arrest.

(Her and Matty were a mutual manic phase. Why was that relationship self harm? It certainly could be bc Ratty is a terrible person and that relationship was toxic. It could also be that ALL of her relationships with men, or at least the ones referenced in this prologue, were self harm. She’s forcing herself into situations that hurt her for the sake of fame. The relationship was house arrest because she was trapped and then cardiac arrest because her heart died, there was no emotion or passion.)

A smirk creeps onto this poets face

Because it’s the worst men I write the best.

(She writes the men!! She is saying right here, she is the writer of the stories, the mastermind behind the galaxies. She’s smirking because she’s tricking us and she knows it. She knows she’s going to be misunderstood, she knows something we don’t.)

And so I enter into evidence my tarnished coat of arms

(Okay so she’s entering these things into evidence. Time to revisit the beginning. What is this evidence of? What is she warning us against? Is this evidence of her plea of insanity, or evidence to support her warning? At this point in the poem, what exactly is she warning us against? In my opinion, she’s warning us against idolizing her or trusting her at face value, she’s warning us against worshiping her relationship so she’s saying over and over, “this is a story I’ve constructed and now it’s torturing me.”

A coat of arms is a family sigil- it could also be seen on a shield. So Taylor’s coat of arms is something that protects her and identifies her- is it her brand? The public Taylor? It’s tarnished, is that because her reputation was tarnished with Matty? Is she saying, my tarnished brand is evidence this is torturing me?)

My muses, acquired like bruises

(She paid a price for each muse in her songs. Each one of these relationships she’s written about hurt her in some way. I also think it’s notable that bruises are visible signs of injury- we all see the bruises, we all define her by them. I think it’s obvious to see how her muse bruises are evidence she’s being tortured.)

My talismans and charms

(Talismans and charms reminds me of Easter eggs. Hidden symbols and messages and codes. Gaylors regularly use symbolism and Easter eggs as evidence that Taylor is not happy, she’s being tortured.)

The tick tick tick of love bombs

(The love bombs could certainly be love bombing in relationships- I think it could also mean love bombing from fans, and how it’s going to blow up in everyone’s face.)

My veins of pitch black ink

(Interesting for a few reasons. She’s dark and bitter on the inside, she doesn’t feel like she bleeds the same as everyone else. And, she has to bleed to write. She has to suffer for her art.)

Alls fair in love and poetry

(All of this, all the lies, all the constructions, everything I’m doing is fair because it’s for the sake of love and my art. This poem, and this album, is a warning against getting swept up in the stories of her relationships, because they’re constructions that she’s made for her art.)

Sincerely,

The chairman of the tortured poets department

(She’s not only in the tortured poets department, she’s the chairman. She’s in charge. She’s the head tortured poet. SHE IS BEING TORTURED FOR HER ART and we’re misunderstanding her.)

Or, you know, maybe it’s just about how she went insane and dated Matty Healy and now she wants to be seen as tortured and edgy.

If you made it this far, thanks for taking the time to read!

(Performance art explained!!!)

Everything Taylor has been doing since the release of the I Can See You MV which premiered in Kansas City just ONE day before Travis attended Eras Tour for the first time has all been in reference to the plot of "Valentine's Day" - a movie she starred in with Taylor Lautner, who was also in the I Can See You MV.

The film released in 2010, Speak Now era, and the I Can See You MV reveals that the Taylor from this film has been locked away ever since. In "Valentine's Day", Taylor's character notably has a big 13 written on her hand, just like the Taylor in the vault.

We missed all of the signs and never put the pieces together but it was never just a MV. Speak Now Taylor was broken out for the purpose of fulfilling 1 last acting role, an acting role she was already familiar with, the role she played in "Valentine's Day" with Taylor Lautner.

In the film, Taylor has an athlete boyfriend, played by Taylor Lautner, and the two of them are high school sweethearts. Hence, the intention behind So High School.

But here is where it becomes clear this is not just her own story she is trying to tell, because to break the blender, the singer needs the football player, Travis Kelce.

In "Valentine's Day" there is a subplot about a closeted gay professional football player that decides to publicily come out on national TV and retire to choose his male partner over his career.

(AND TRULY HEAR WHEN I SAY THIS BECAUSE I AM IN DISBELEF)

After the closeted football player comes out, he goes home to be with his lover who greets him with a GOLD ROSE.

No you were not crazy to think Ross Travis was soft launching him and Travis with this. That is EXACTLY what is happening here. This isn't an original plot, this is a live remake

Immediately after the Super Bowl, teammates of Travis already begun spreading that Travis may retire. Right on cue. Following the script to a T.

The evidence that Taylor has been publicily playing the role of "Valentine's Day" Speak Now Taylor since July 8th 2023 does not end there though.

Besides Taylor Lautner, SEVERAL other actors/actresses that starred in "Valentine's Day" attended the Eras Tour, which could be a coincidence until we look at when they did.

Jennifer Garner who played Julia in "Valentine's Day" attended the Eras Tour on, you guessed it, July 7th 2023 in Kansas City the day I Can See You MV premiered, 1 day before Travis attended.

Bradley Cooper who played the love interest of the closeted football player attended the Eras Tour WITH Travis Kelce on May 12th 2024, the 87th show. IMDB promoted this article which notably points out Travis being there and how Taylor and Bradley both starred in "Valentine's Day".

Ashton Kutcher who played the character Reed in "Valentine's Day" attended the Eras Tour on June 22nd 2024 while Travis was there, just 1 day before Travis was on stage taking up an acting role for the peformance of I Can Do It With a Broken Heart.

Anne Hathaway also attended 1 day after Travis did. Jessica Alba attended during Karlie's birthday shows in LA August 2023. Emma Roberts went to one of the first shows of the Tour. In which all of the following people played the major roles in "Valentine's Day".

We are still not done.

In the main scene of Taylor and her athlete boyfriend Taylor Lautner, Taylor's character is wearing PLAID, this is why Taylor has excessively been wearing plaid for the past 2 years to the point people started believing it was an album era clue. Nope, she has just been in character, and giving us so many signs to lead back to the film for so long.

And finally, in the ending scene for Taylor's character, she says goodbye to her athlete boyfriend and is seen in an ELEVATOR wearing a RED DRESS. The same color dress Taylor chose to wear to the Grammy's, the main event right before the Super Bowl. Where she wore a T chain that got everyone talking that it was for Travis, it was a farewell.

If you have been following, for the Super Bowl Taylor brought everything full circle with Bejeweled. From the Bejeweled MV release date to the Super Bowl, it was exactly 838 days. She filmed it August 3rd on Karlie's birthday. And the Haim sisters from the Bejeweled MV accompanied her at the game. She also bookended her first Chiefs football game attendance outfit by wearing the same one, except she Bejeweled the shorts. And then just as the prophecy foretold in Bejeweled, she ghosted, leaving the stadium early.

What else happened in Bejeweled though? The elevator scene. Which is EXACTLY how she chose to tease Speak Now TV. The album that gave us I Can See You. And the way she revealed this was by making Speak Now TV the 13th floor (refer back to 13 written on her hand in Valentine's Day)

I am just absolutely floored. This has all been here the whole time right in front of us and it is MASTERFUL planning. Down to the full circle moment that has been going viral with Taylor presenting the award to Beyoncè referring back to when Beyoncè presented to Taylor at the 2009 MTV Awards while Taylor was writing Speak Now. It was yet another clue that Taylor is currently playing the role of Speak Now Taylor from the Valentine's Day film, and she would have already been filming for the movie at this time.

(click on images to read)

I actually am obsessed with this!! it totally makes sense!!