#deepdive

The Life of a Billionaire : A Taylor Swift Essay 🛸

By Moon Records

The following essay is written by me and me alone. This is not meant to entice a hate train but invoke critical thinking as well an open discussion on what was done right and could be done better. If you lack those things, this account is not for you, and any comments provoking obvious aggression and empty insults will be deleted. Disagreements will be made but I don't support the harassment or witch hunt of anyone I mention here. With that being said, let's dive right in and remember to keep it cute and cordial in the comments.

The Album Review 🛸

My Pros and Cons

Let's jump right in! As it currently stands, we have 12 songs on the album. All with different names and they're associated melodies. I wasn't there when it dropped, but as a listener of TTPD and prior albums, I had the album presaved.

I remember getting to the album maybe a couple of days later. Now, how I listen to a new album is I start from the top, no skips, and work my way down, saving songs to specific playlists as I go until I reach the end.

I'll start with my pros of the album before finishing with the cons. Some good takeaways, in my opinion, were the presentation. The orange and teal, along with all the sparkles as well the short clips/edits you see per track, were a nice touch. You can definitely tell there was a lot of thought in the presentation as well as really representing the showgirl theme. Most of the songs felt very lyrically safe and neat. Some sexual innuendos here and there, but that didn't bother me personally. I also did enjoy the Sabrina Carpenter feature as a previous fan of her album, "Emails I Can't Send." Not only do their voices compliment one another well in the song, "Life of a Showgirl", but when it got to the bridge it was taken to a whole new level. "Ruin the Friendship" was an endearing tribute to her high school friend Jeff Lang. It kinda reminded me of, "Soon Youll Get Better." Where she was talking about her mother battling illness. Overall, I didn't feel any strong dislike to the album personally. It just felt like another generic Taylor Swift album. Nothing too special. I will add that my favorite songs were "Elizabeth Taylor", "Actually Roumantic", and "Honey."

Now for the dislikes or cons. As much I didn't hate this album or consider it her worst, as some critics would say, it did feel generic. You had your love songs, some storytelling, a diss track here and there, the feature, and your playful yet sexual songs. A classic Taylor album. Of course, this can be said about any artist, but when this is your overall theme, just recycled and repackaged with different colors, it can feel redundant and flat. Misha Petrov states in her videos, "It's like the color beige in music form." This ties back to what I said in the Pros section how many of her songs sound clean and organized. It's like clean girl aesthetic if she was an album when you think about it. This to say, generic writing isn't necessarily a bad thing. I don't have an issue with break-up songs and love sonnets with the occasional sex joke weaved into it. This by itself isn't the problem, let me emphasize that. It's when that is all you're bringing to the table, especially as a high value artist. It begs the question of the type of standard you are setting for industry especially for coming up artist who could be looking to you as a role model.

I would also like to add that some of the songs on the album don't exactly make sense from an English or literary degree point of view. It's very common for artist, especially Taylor Swift, to add classic pieces of literature to their songs. I know The Great Gatsby was a popular theme amongst the albums such as Folklore or Evermore, but here, the idea of Ophelia didn't fully make sense to me once you know the story of Ophelia in Hamilton. Neida Teresa does a very good job of breaking this down in her video, where she disects each song in depth. Some allege the song Ophelia is about Ophelia Woods, who wrote, "The Life of a Showgirl." This book could be found on Amazon, but the release date of the book--August 27th, 2025--to the album--August 12, 2025--doesn't fully sell it or add up unless we want to argue Mrs. Swift can traverse into the future. It is also alleged in Facebook groups, by some swifties, this book is AI made.

Continuing on AI, there are folks accusing Swift of using AI or ChatGPT, and that I am not too sure of, so I won't comment on that. If this is true, then yes, that should be discussed as well and addressed. In the end, this album was a bit mid for me, and nothing of what I expected. I thought the, "Life of a Showgirl." Would show case what it was like being in the music industry. Some of the behind the scenes that we as an audience don't get to see. The only time I really felt she lived up to that was by the time we get to the last song titled, "The Life of a Showgirl."

Supply and Demand 🛸

28 Variants is Excessive

Is 28 variants, where some are limited time, for only a mere breadcrumb of content really worth it? If you were asking me, I'd say no. On Tiktok, many would say otherwise. Now, I am not here to tell you what to think and that if you disagree with me, you should be chastised, no! These are just my personal opinions at the end of the day, and we can agree to disagree.

I just feel, and someone on my video that I posted was able to put into perfect words, that it's passive aggressive to do all that to your fans for only mere qoute change of content or one added song. She's a smart businesswoman, and she's obviously feeding into the FOMO psychology, but this, in my opinion, is a bit messed up. I think of the time when she dropped TTPD and the album was hyped up along with it's limited time merch and everyone, including myself, was scrambling to get their hands on it. Then, not too long after, she came out with Anthology, which was not just a couple of bonus songs, but basically a whole new album in of itself. This by itself isn't bad. It's good to have an element of surprise that keeps your audience on their toes, but when you pair this with the fact she dropped TTDP along with limited time merch to then later drop Anthology with more limited time stuff it feels heavily rushed and pushy. I think of when she was dropping this album, and you had the opportunity to purchase a limited time album verison before the album even dropped. Not even getting a chance to find out if you'll even like the album in the first place, and when you think about it like that, it's just so much worse. Assuming your fans are just going to eat up whatever you put in front of them. Not only does it come off as undermining your fans' intelligence but is super arrogant. Cause either you think of them as that mindless which, some can be, or you think you're that good.

Either or, cause now I am getting off track a bit. It just doesn't seem necessary, and it comes off greedy. Now I understand, and someone in the comments of my video did explain to me this, that artists actually make more money off the physical copies vs. digital. Why that is, I am not in full understanding of, but that is what I was told. Which, I can empathize with if this was little indie artist making music in their bedroom, but it's not. This is Taylor Swift, where her Spotify alone could set her up for life. She is also involved in other media that she gets a percentage of, too.

All this to say something doesn't sit right with me on how she went and goes about some of her business tactics, and of course, I am ok if folks disagree.

Micro Aggressions and Racism 🛸

Diss Track after Diss Track

This is going to be another long one, with links to back it up so the folks who are effect my these aggresions can have their voices heard and seen.

Taylor Swift is no stranger when it comes to writing songs about those who wronged her, but not only has she written songs on her exes or crooked ex producer, but she has also come for the innocent and we see that clear as day on this album. Some will also argue that songs like Bad Blood and Actually Romantic which are diss tracks to Katy Perry and Charlie XCX were taken out of proportion and unnecessary clap backs. Brownfireball shares some of her thoughts as well others on the whole Actually Romantic breakdown.

Moving on, to the more important part of this section as well at addressing the elephant in the room, that is, Taylor's vandetta towards black folks/POC or her recent victim, Kayla Nicole.

Kayla Nicole is a fashion and wellness youtuber/entrepreneur. She is also formally known as Travise Kelce's ex. I also encourage looking into and doing more research on Kayla as a person than who she was with because, as we all know, women are more than who they previously dated. For the sake of this essay, I will be focusing on her history with Travis as well as his dating history.

Travis is not just known as NFL's football poster boy, but also to date predominantly black woman. The most recent being Kayla on and off from 2017 to 2022. The winner Maya Benberry from the show, "Catching Kelce," and finally Zuri Hall, a reporter in 2022 a little before linking with Swift. It was also rumored a little after Zuri he tried shooting his shot with Megan Thee Stallion, who rejected him on video allegedly. Megan is also reported to be dating Klay Thompson, the NBA Dallas Mavericks player. The next time these two are seen is in a Pepsi commercial. Here, they are reenacting a Greek Gladiator like theme.

All this being said, Travis Kelce has had an interesting dating history before meeting Swift, which has predominantly been black woman. Now, how is all this tied to Taylor showing clear micro aggressions towards POC and diss tracking Kayla. Look no further than the song "Opalite", and who it's about as well as the shift in perspective towards the second verse. The song starts out talking about Taylor and her experience in dating as well as reminiscing on old lovers. After the chorus, we then go into the second verse, and we are no longer in the 1st person perspective of Taylor but instead 2nd, and we are referring to a "you."

It has been confirmed, by Taylor herself, that the song, "Opalite" is about Travis Kelce since his birth stone is Opal. In this section, as Taylor is singing, she writes, "You couldn't understand it. Why you felt alone. You were in it for real. She was in her phone. And you were just a pose." Which many people not only speculated but concluded was about Kayla Nicole and the video where Travis is annoyed by her filming. Here is a short by Pattypopculture on not only what I stated here but the videos itself of Travis and Kayla at the end where it's obvious Travis is upset and calling Kayla a loser. I personally find that to be a red flag, but I won't get into some of the reasons I think Travis Kelce is not the divine masculine people are framing him to be. If you would like me to write more on that, I can, but for now, I recommend this video by Everday Starlet.

All this to say, it is clear that Travis has a type, and Taylor clearly feels some type of way about that type. This isn't to say I think she is outright racist or hates black/poc, but it's very common for Taylor to use her lyricism to put down or even back hand someone who crosses her the wrong way or feels envious towards and you can see this littered throughout her albums even from day 1 with the classic hit single, "You Belong With Me." She's always had this, "Not Like Other Girls." Vibe. Never the popular girl, just the girl who sits in the corner wearing band T's listening to indie bands as she doodles on the top left corner of her assignments. Now these things are not bad by themselves, but when you're pushing 30 and still trying to play up the high-school loner despite being a billionaire many admire it looks uncanny and feels forced or fake and I feel that is the take away from this album. Something just doesn't sit right.

For more videos on this topic of micro aggressions as well as folks dealing with effects of it, especially from this snd speaking out, I recommend this video by Reese Ireland and this onr by ItzKeisha.

In Conclusion 🛸

My Closing Thoughts

In the end, and to wrap this all up, the album may not have been the worst, but it was definitely mid. From not only feeling very rushed and haphazardly put together but to the marketing and down to some of the songs themselves lyrically. Does this mean I will never listen to another Taylor Swift song or her next album? Of course not, but as Echo Chamberlain states in his video, when your chords are C, G, Am, and F in a majority of your songs it gets old really, really fast.

I feel that at the end of the day, we are dealing with a case of "Taylor Fatigue." She released the "Midnights" album in 2022 to then go on the Era's Tour from 2023 to 2024, dropped a "TTPD" double album mid tour in April of 2024, met Travis and attended his games along with the 2024 Super Bowl LVIII in Las Vegas, ended her tour to then release "The Life of a Showgirl" this year October 2025 and now is getting married. Whether we can relate or not, even having to type all that felt exhausting, let alone doing it. Not to mention now having to see the Kelce family all over similar to how the Kardashians were.

Taylor has even mentioned in her interviews feeling exhausted and tired, and I think what she and all of us need is a break. I genuinely think that if she had rested after the tour and took a year or even 2 years off to allow herself time to live a married life and others to be in the spotlight to then come back with something fresh we would all be saying something different most likely.

Either or, this concludes my deep dive on Taylor and her new Album, "The Life of a Showgirl." I hope you found this to be educational as well as constructive. If you would like me to do more content such as this, let me know in the comments below who I should cover next. Remember to keep it polite in the comments and to send no hate to anyone that is mentioned in this essay. Have a good one and stay safe.

Aue Revoir 🛸

After nearly a year of working on this video, here it is.

The full video breakdown of The Collector Series!

Hope you enjoy! Please leave a comment while you're there to make me feel better, thanks.

//Also share, repost, reblog, anything to get more people to see it, please. Thank you.

(there's a chance you won't be able to see it in your country because the flipping issues with the copyright but I really tried, I redid it like 5 times and I cannot get it to work. Please use VPN, if it doesn't work for you and you have it)

OC POST TODAY‼️ (featuring @izsheum’s Saint)

Part 1 of 4 — The Bug in the System / The Architecture of a Pillar

Let's get one thing straight before we dive in.

Tezuka Kunimitsu is, canonically, a middle schooler.

He is fifteen years old. He attends Seishun Gakuen Junior High. He is technically enrolled in the same grade as kids who still argue about whose turn it is on the PlayStation.

And yet.

The man walks into a room and the air changes. He doesn't raise his voice. He doesn't threaten anyone. He simply exists — and two hundred people fall in line. His presence alone reads like a senior executive who has already survived three hostile takeovers and two economic recessions, not a teenager who should be stressing about entrance exams.

This is not a vibe. This is a structural anomaly. A bug so severe it became a feature.

This four-part series is my attempt to reverse-engineer what, exactly, Tezuka Kunimitsu is — and why we cannot stop looking at him.

Part I: The Glitch — "Middle Schooler" as the Funniest Lie the Canon Ever Told

Here's the thing about Tezuka's age that breaks my brain on a regular basis.

There's a canon moment where a local adult — Mr. Kawamura Sr., if I'm remembering correctly — mistakes him for a teacher.

Not an upperclassman. Not a particularly mature student. A teacher. A working adult professional.

And honestly? Can you blame the man?

Look at what Tezuka carries simultaneously:

Captain of the tennis club — a club with over 30 competitive members, each of whom would rather die than disappoint him

Student Council President — the kind of administrative burden that would hospitalize most adults

Zero failing subjects — because of course

A left arm held together by stubbornness and spite — more on this later

The sum of these responsibilities, carried on the shoulders of a fifteen-year-old, produces what I can only describe as the spiritual equivalent of a 40-year-old fund manager who meditates, hikes mountains, and has never once been late to a meeting in his life.

His hobbies are mountain climbing, camping, and fishing.

His favorite food is uncha — a Nagoya specialty of rice covered in eel, eaten in a refined, methodical sequence. The culinary choice of a retired diplomat, not a high schooler.

He listens to Beethoven.

He carries a German-Japanese dictionary for fun.

I need you to sit with that for a moment. A child. With a German-Japanese dictionary. For fun.

The gap between "chronological age" and "actual psychological operating system" in this man is so vast it functions less like a character quirk and more like a narrative weapon. Every time the show reminds you he's a middle schooler, it's funnier and more devastating than the last time. He has simply opted out of adolescence as a concept.

Part II: How He Got Here — Three Moments That Turned a Prodigy Into a Concept

Tezuka being this way didn't happen by accident. There's a causal architecture underneath the performance. Let me break it down.

1. The Foundation: A Household Built on Discipline as Breathing

His grandfather, Tezuka Kunichi, is a judo instructor attached to the police force. His father works in international trade. This is not a household where you show weakness at the dinner table.

From childhood, Tezuka was marinated in an environment where self-mastery was the baseline expectation, not the achievement. Discipline wasn't something you built — it was the water you swam in. By the time he picked up a racket, the psychological infrastructure was already there.

This also explains the hobbies. Mountain climbing, fishing, camping — these aren't pursuits chosen for fun. These are precision activities for people who understand that mastery requires silence and patience. They are the hobbies of someone who does not know how to be unproductive, and does not particularly want to learn.

2. The Wound: When Talent Became a Target

In his first year, Tezuka was attacked by an upperclassman — struck with a racket, left arm deliberately injured — because his talent made him a threat.

He did not retaliate. He did not complain. He did not quit.

He absorbed it. And then he did something more psychologically complex than revenge: he converted the pain into obligation. The injury didn't produce bitterness. It produced a sense of debt — to the club, to the sport, to everyone who believed in him despite the violence.

This is the moment Tezuka stopped playing tennis for himself and started playing it for something larger. A fifteen-year-old voluntarily dismantled his own ego and handed the pieces to the institution.

This is not healthy. I am not saying this is healthy. I am saying it is fascinating and it explains everything.

3. The Sentence: "Become the Pillar of Seigaku"

Captain Yamato said these words to him.

Five words. That's all it took.

"Become the Pillar of Seigaku."

For most people, this would be an encouraging platitude — the kind of thing a coach says at the end of a pep talk that you politely forget by the drive home.

Tezuka Kunimitsu received it as a binding contract with no expiration date.

He did not interpret "The Pillar of Seigaku" as a metaphor. He operationalized it. He built a life around it. He sacrificed his arm for it. He ran practices that made grown men weep for it. He turned himself into a structural element of an institution rather than a person who belonged to one.

"Don't let your guard down" — his famous catchphrase — is not motivational poster language. It is a standing order he has issued to himself every morning since he was twelve years old. It is the sound of a man who has internalized an impossible standard and refuses to let even a single day go by without measuring himself against it.

Part III: The Discipline Log — Tezuka's Journaling Practice as Psychological Infrastructure

His listed daily habit in the official profile is: "keeping a diary."

Let's be extremely clear about what this is and what it is not.

It is not a standard teenager's journal. It is not "dear diary, Fuji said something cryptic again and I don't know what to do with him" (although honestly, same).

What Tezuka practices is what psychologists and executive coaches in 2024 would call Journaling as Cognitive Regulation — or, in Silicon Valley parlance, "journaling for high performers."

The practice works like this:

You take all the cognitive and emotional load from the day — the pressure, the unresolved conflicts, the anxiety about performance — and you externalize it onto the page. By converting internal noise into written language, you force your brain to process it structurally rather than emotionally. You identify what's real, what's distortion, and what requires action. Then you close the notebook, and your nervous system can actually rest.

Tezuka, I would argue, uses his journal as a nightly system restore. Every evening, he documents, categorizes, and processes the accumulated weight of being The Pillar. Every morning, he reboots as a functional, high-performing captain.

The physical medium matters here. He almost certainly writes by hand — likely with a quality fountain pen, possibly one passed down from his grandfather or father. The resistance of pen on paper forces a slower, more deliberate processing speed than typing. You can't skim your own handwriting the way you skim a screen. The pressure of the nib, the pace of the ink — these are biometric data, recording the emotional texture of the day in the variance of the strokes.

This is a fifteen-year-old who has built, from scratch, a mental performance protocol that most adults don't encounter until their third executive coach.

Part IV: The Gravity Problem — Why Every Top Player in the Series Is Locked in His Orbit

Here is the question that drives this entire series:

Why are they all so obsessed with him?

Atobe Keigo — the king of Hyoutei, heir to a financial empire, a man who has never encountered a room he did not immediately own — is consumed by Tezuka. Not interested. Not respectful. Consumed.

Sanada Gen'ichiro — the iron vice-captain of Rikkai, the man who carries a dynasty's legacy on his back — has Tezuka as his personal measuring stick for what it means to be a true martial artist of the sport.

Borg — a world-class professional, years ahead of these kids in every technical metric — sees Tezuka and decides that this is the match he has been waiting for.

Fuji Shuusuke — the prodigy who could probably beat most of them if he ever bothered to try — orbits Tezuka at an emotional altitude that the series has never fully mapped and I plan to spend an entire separate essay on.

Why?

Here is my theory, and I think it holds up structurally:

Tezuka is the only person in the series who plays for something larger than himself.

Every other top player operates from some form of ego-driven motivation, however sophisticated: the need to prove dominance, the hunger for recognition, the desire to protect something or someone they love. These are all valid, powerful drivers. They produce extraordinary tennis.

But Tezuka plays for the institution. For the concept of Seigaku, for the integrity of the sport, for the standard itself. His tennis is not a vehicle for his identity — it is the identity, fully dissolved into the act.

This purity of motive is what the other powerhouses cannot look away from. It's the tennis equivalent of encountering someone who has no personal agenda in a room full of people running competing agendas. It's disorienting. It's magnetic. It makes you want to either destroy it or become it.

And because Tezuka's benchmark is entirely internal — because his "enemy," as he famously defines it, is always himself — all of their intensity and obsession simply... slides off him. He is not cold. He is not indifferent. He simply does not have the bandwidth to perform the social theater of acknowledging their fixation, because his attention is permanently directed inward, at the gap between who he is and who he is supposed to be.

The result is a feedback loop of psychological torment for everyone around him:

The harder they push, the more he absorbs without breaking, the more they need to push.

They are not chasing a rival. They are chasing a fixed point — and fixed points don't move.

Conclusion: Tezuka Kunimitsu Is the North Star

He does not campaign for attention. He does not signal strength. He does not need to.

He simply holds position, correct and luminous, in the exact coordinates where he has always been.

In the darkness of competitive tennis — where everyone is maneuvering, recalibrating, performing — he is the single point of reference that doesn't move. And because he doesn't move, everyone has to locate themselves in relation to him.

He is fifteen years old.

He will never again be fifteen years old.

And somewhere in the middle of all of that, there's a version of him who comes home at the end of the day, takes off his glasses, sits down with a bowl of uncha, and allows himself exactly one quiet exhale before writing the day's entry in a careful hand.

What he writes, we will never know.

But I am fairly confident the last line is always some version of:

"...Don't let your guard down."

The Great Tumblr Reblog Debacle of 2026

There’s something about eyes. I’m not talking about just their color or the way they shine in certain light, but the depth behind them. With Bruce Wayne and Clark Kent, their eyes tell you everything about who they are — even when they’re hiding behind a mask or a pair of glasses.

🦇 Bruce Wayne’s eyes are a perfect reflection of Gotham’s darkness. They’re haunted, sharp, always calculating. When Bruce looks at you, it’s not just seeing — it’s assessing. Those eyes have witnessed trauma, pain, and a kind of isolation that leaves its mark. His gaze is always vigilant, always looking for threats, always burdened by the weight of his past and the city he’s sworn to protect. In everything Bruce does, there’s a calculation.

But that’s not what’s most interesting.

No, it’s what you see when he lets his guard down — just a little bit. A fleeting look, a slight softness when he's with those he trusts (whether it’s Alfred, Dick, or even Clark). You can catch it if you pay attention. And it’s in those rare moments that his eyes show something other than the hardened vigilante: humanity.

🦸‍♂️ Clark Kent, on the other hand, has eyes that shine with warmth and hope. His gaze is steady, filled with the optimism that makes him who he is. His eyes have seen the best in humanity, even if the world has tried to make him doubt it. Clark’s kindness isn’t just about how he acts — it’s embedded in the way he looks at people. When he looks at someone, it’s like he’s already forgiving them for their mistakes.

He looks at the world with the belief that it can be better, that people can change, that love can win.

But, as much as his eyes reflect hope, they also hide a burden. There is a weight behind that kindness. There’s the pressure of being everything to everyone. He’s not just the hero, he’s the moral compass, and sometimes that becomes a lonely place to stand.

🌧️ Maybe that’s why Bruce’s eyes are more gray than blue. Not because they’re clouded or dim, but because they’ve been tempered by Gotham’s harshness. They’ve absorbed the grit, the shadows, and the unrelenting weight of a city that never lets you forget its darkness. His eyes aren’t just a reflection of what he’s seen, but of the battles he’s fought and lost.

☀️ Meanwhile, Clark’s eyes are a bright, hopeful blue — like the open skies of Kansas. They’re clear, unclouded by the world’s cynicism. His gaze reflects a life shaped by the warmth of family, by the wide, open spaces of his childhood, and by the belief that the world can be better.

Together, these two are often seen as opposites: Bruce, the man shaped by pain, distrust, and tragedy. Clark, the man of hope, compassion, and unshakable faith. But when you look into their eyes, there’s a shared burden. A shared humanity. And it’s in the moments where their gazes meet — whether it’s in silent understanding or in battle — that we see just how connected they truly are.

The eyes, truly, are the windows to the soul.

And Bruce and Clark? Well, their souls couldn’t be more different, and yet, they share something undeniably real.

SLURRRRP!! There's a @speekygeeky @necaofficial-blog Archie @tmnt Adventures FUTURE DON & CUDLEY THE COWLICK spotlight Deep Dive that just premiered??

YUP! For all you geeky interstellar mutant-loving fans who are looking for something fun to sink your BOVINE chompers into, head on over to our ALL NEW TMNT SPOTLIGHT SERIES and join in on all the geeky goodness!

We'll plop the link conveniently for you riiiight here: https://youtu.be/2HTPIOo2_3I?si=qj3GnDL9vK-fOiG6 (and IN BIO)

FUTURE DON original art shown here and in video by rad artist @cerbero.studio1810 , CUDLEY THE COWLICK original art by @mistajonz

The giant floating head is fully loaded and heading toward a mutant-filled galaxy near you, so hop on in, we'll save ya' a slice!

I've had this Brew video on my fyp and without any warning THEY START THIS 1 MIL SHOUTOUT!!

It's super cute and I loved hearing the voices behind it so much!!! Of course the question being who of those people are still part of the Brew Crew...

Here's an analysis I will probably work out more with time lol strap in