#taymily

TW: this essay discusses an alleged emotional relationship between Taylor Swift (then 16–18) and her then-violinist Emily Poe (then 21–23) during 2006–2007. The discussion is non-explicit and focuses on lyrical interpretation, but the age-gap dynamic is central to the argument.

The 10-minute version of "All Too Well" released in 2021 added many new lyrics, fleshing out the original story with more detail. The mainstream reading holds that the 10-minute version strengthens the Jake Gyllenhaal narrative: the age-gap indictment, the 21st birthday, the deliberate casting in the short film are all treated as near-official confirmation. But alongside this, a substantial body of voices (not just from niche fan circles) has pointed out clear timeline holes and logical inconsistencies in the new lyrics.

The most widely discussed problem is the "fuck the patriarchy" keychain. Gawker published a piece directly arguing that Taylor is lying, because no one used this phrase in early 2011 (Google Trends shows the phrase first registering searches in 2012). The line "I'll get older, but your lovers stay my age" has no grounding when written in 2011: Jake's prior partners before Taylor (Kirsten Dunst, Reese Witherspoon, Jenny Lewis) were either older than him or only two years younger; his pattern of dating much younger women came many years later. Additionally, the new sections' war metaphors and religious imagery clearly belong to Taylor's later writing voice (post-folklore/evermore), and feel out of place next to her Red-era pen. A large discussion in r/SwiftlyNeutral (a relatively neutral fan community) argues that "the 10-minute original never really existed" and that the new lyrics were written in 2021 to retrofit the Jake narrative fans had been building for years. In short, the mainstream accepts the strengthening, but more critical listeners read the new version as retrospective reconstruction rather than original record.

Building on the previous essay, which used logical deduction to argue that Emily Poe is the most likely muse of ATW, this essay focuses on how the disputed portions of the 10-minute version read in the Jake context versus the Emily context.

I. Photo album on the counter

Photo album on the counter, your cheeks were turning red You used to be a little kid with glasses in a twin-sized bed And your mother's telling stories 'bout you on the tee-ball team You taught me 'bout your past, thinking your future was me And you were tossing me the car keys, "Fuck the patriarchy" Keychain on the ground, we were always skipping town And I was thinking on the drive down, any time now He's gonna say it's love, you never called it what it was 'Til we were dead and gone and buried Check the pulse and come back swearing it's the same After three months in the grave And then you wondered where it went to as I reached for you But all I felt was shame and you held my lifeless frame

1. What these lyrics describe

These thirteen lines form a complete arc that can be divided into four stages.

Stage 1: intimacy and acceptance. The narrator is brought into the other person's family, leafs through their childhood photo album, listens to their mother tell stories about a tee-ball team, watches them blush at old pictures. The other person has shown her the most private and most vulnerable parts of their past. "You taught me 'bout your past, thinking your future was me" captures the core of this stage: the other person reveals their past to the narrator, and at the same time also believes the narrator is their future. This isn't merely the narrator's one-sided imagination. The other person believed it too.

Stage 2: motion and waiting. The scene cuts from the family living room to the car. The other person tosses the car keys over; the keychain falls to the ground; the two of them are on the road again. As they drive, the narrator is thinking: any moment now, he's going to say the word, he'll call it love. But the other person never does. "You never called it what it was" is the central contradiction of this relationship: the feeling exists but is not named.

Stage 3: death and return. The relationship has ended. It is buried. Three months later, the other person comes back, takes the pulse, and swears "it's the same." This "it's the same" maps back to "called it what it was": it means "you were right; this is what you always said it was; this is love; I admit it now."

Stage 4: shame and the inability to respond. The narrator reaches for the other person, wanting to answer this belated admission. But all she feels is shame. What the other person holds is a body without life. It isn't that the love is gone. The love has been crushed under some deep shame that paralyzes her response.

2. The mainstream reading in the Jake context

Stage 1: the photo album and the family. Under the Jake framework, fans match the photo-album scene to reports of Taylor visiting Jake's family in New York. On November 25, 2010, Jake brought Taylor to Brooklyn to meet his sister Maggie Gyllenhaal and his niece. "Your mother's telling stories" is read as Jake's mother Naomi Foner (a screenwriter), with Taylor hearing her tell stories about young Jake during the visit. "Your cheeks were turning red" is read as Jake blushing as his mother surfaces childhood moments. The image presented is the "meeting the parents" intimacy of a relationship entering a serious phase.

Stage 2: car keys and skipping town. Fan readings of the car-key lines cluster around the "fake feminist" interpretation. The top-voted Reddit comment argues that Jake is the kind of man who talks the talk on supporting women and performs surface respect, but actually treats his partners with chauvinist behavior. The keychain says "fuck the patriarchy," but his real behavior practices it: he dates a woman nearly ten years younger, refuses to call the relationship love, and tosses her the keys on the floor for her to pick up. As one Reddit user put it: "He was presenting as someone who was into feminism, treating women with respect, and basically pretending to be a nice guy." (source: Reddit)

The Peter Parker blog's literary analysis points out that in Taylor's earlier songs, the narrator is almost never the one driving: "I was ridin' shotgun with my hair undone in the front seat of his car," "He opens up my door and I get into his car." The other person tossing her the keys is, on its surface, handing her the wheel, symbolically ceding control. But the keychain falls to the ground, and she has to bend down to pick it up before she can start the car, hinting that the other person hasn't really handed over control. The "you drive" gesture is just a gesture. (source: Peter Parker blog)

For "skipping town," fans read this as Jake taking Taylor out of the city for private trips, avoiding publicly acknowledging her in their social circles. This connects to the later "you kept me like a secret." But this reading sits awkwardly against the public record: during their relationship, Jake and Taylor were photographed extensively in central New York, including walking in Brooklyn, going to bakeries, shopping with Jake's sister, and so on. The constant-movement state described by "we were always skipping town" doesn't really match their frequent public visibility.

On the phrase "fuck the patriarchy" itself, Slate traced its history and found it first appeared on a 1989 abortion-rights rally sign in Boston, and afterward circulated mainly in LGBTQ magazines and the riot grrrl punk movement. So the phrase's existence in 2011 is entirely possible; it just hadn't entered mainstream pop culture yet. (source: Slate)

Stage 3: the three-month return. A high-upvoted Reddit thread argues that during their time dating, Jake never said "I love you" to Taylor, and only tried to use the word about three months after the breakup as an attempt to win her back. The thread cites the Red album hidden message "I love you doesn't count after goodbye" as evidence and connects it to We Are Never Ever Getting Back Together, which describes the other person repeatedly returning and leaving. (source: Reddit)

Stage 4: shame and the lifeless frame. This is the hardest part of the Jake reading. Fans offer several explanations. The Absoludicrous blog's literary analysis links shame to a relationship becoming sexual too early, reading lifeless frame as Taylor feeling objectified. FemCatholic's long-form piece reads shame at the cultural level, attributing it to the double standard women face around sexuality. Reddit user quarterfast notices the chain of death imagery in this passage (dead, buried, grave, pulse, lifeless) and reads the whole section as a metaphor for death followed by a failed resurrection. (sources: Absoludicrous blog; FemCatholic)

These readings hold up internally, but if this relationship is a roughly three- or four-month public romance between Taylor and Jake, the word shame carries excessive weight. Shame is different from guilt. Guilt targets a specific act ("I did a bad thing"). Shame targets the self ("there is something wrong with who I am"). Bruised self-esteem after a breakup, or regret over a brief romance, normally produces guilt or regret, not shame. Choosing shame itself implies a deeper, identity-level humiliation. The fan-proposed explanations ("shame over premature sex" or "shame from social double standards") can partially explain the word, but those readings are closer to guilt's domain ("I shouldn't have done that") than to shame's core meaning ("there is something wrong with me").

3. Re-reading in the Emily context

If these lyrics are placed in Emily's timeline, the meaning of each stage shifts, and shame fits precisely.

Stage 1: the photo album and the family. Emily joined Taylor's band at around 21; Taylor was around 16. During a tour break or some visit, Emily might have brought Taylor back to her family home in Indiana. "Your mother's telling stories" is Emily's mother telling stories about her daughter as a kid. "Your cheeks were turning red" is Emily blushing as her childhood is exposed. The image resembles the Jake-framework "meeting the parents" scene, but the emotional substance differs fundamentally: this isn't a ceremonial step in a formal romance. It is two people in a private space, sharing naturally. No press captured this scene; no one knew it happened.

"You taught me 'bout your past, thinking your future was me" has a more specific anchor in Emily's context. Emily showed Taylor her formative years, while also believing the two of them would continue side by side on the path of music. This isn't only emotional expectation but a shared imagining of a life path.

Stage 2: car keys and skipping town. "Tossing me the car keys" sits against a concrete reality. In 2006–2007 Taylor was only 16 or 17; in many U.S. states a 16- or 17-year-old can hold a license but with restrictions. Emily was about 21 or 22, fully a legal adult driver. On tour, Emily tossing Taylor the keys to drive carries the meaning of breaking convention: the older one, the one who by rule should be responsible, hands control to the younger.

"Fuck the patriarchy" shifts fundamentally in Emily's context. If both people are women, patriarchy no longer points at one specific man's hypocrisy but at the entire social structure pressing on them. The patriarchy dictates that women should romance men, build heterosexual families, walk a socially sanctioned life path. A relationship between two women violates that structure in its very existence. "Fuck the patriarchy," here, is their shared resistance to a world that oppresses them. As the Slate piece's etymology shows, the phrase's cultural lineage is rooted in LGBTQ communities and feminist movements, not in a straight man's "progressive" persona.

"Keychain on the ground" carries a deeper tragic meaning in Emily's context. If the keychain's "fuck the patriarchy" stands for the courage and declaration they shared in defying the world, then keychain on the ground is the image of that declaration being put down. An object on the ground is no longer being held, no longer cherished. Emily, in the end, did not continue to "fuck the patriarchy." She returned to Indiana, married her high school classmate, and walked a path entirely in line with patriarchal expectation: heterosexual marriage, traditional family, stable career. The defiance once held jointly was set down by Emily. It fell to the ground.

"We were always skipping town," in the touring context, is literal fact. Touring's nature is constantly leaving one city for the next; they really were always skipping town. This perpetual movement created a protective bubble in which they were always together on the road, without parental interference, without social rules to confront, just two of them and a car that kept moving forward. But "always" and "keychain on the ground" stand in contrast. Always describes a continuous past state (they were always on the road), while the keychain has already fallen, hinting that this flight will end. They can't always be on the road, always skipping town. The moment Emily decided to step off of touring with Taylor, the bubble burst.

"And I was thinking on the drive down, any time now, he's gonna say it's love, you never called it what it was." Inside that protective bubble, Taylor is silently waiting for Emily to say the word. But Emily never does. Emily is about 4.5 years older than Taylor, and the reality she faces is far more complicated than Taylor's: this is a relationship with an underage employer, impossible to be accepted within the conservative country music industry. She doesn't call it love not because there's no feeling, but because once you call it by its name, you have to face all the consequences. So "skipping town" and "never called it what it was" are causally linked: as long as they keep moving, the relationship doesn't need to be defined, named, or confronted.

Stage 3: the three-month return. In December 2007, Emily attended Taylor's 18th birthday party (December 13) and played the New Year's Eve show on December 31. By the January 12, 2008 performance, Taylor's fiddle player had been replaced with Caitlin. Emily left Taylor's band. The relationship died. It was buried.

According to this verse, about three months later, around March 2008, Emily returned. "Check the pulse and come back swearing it's the same." She finally admits what Taylor had always hoped she would admit: it was love.

On March 20, 2008, Emily did temporarily return for one show at the Grand Ole Opry House in Nashville (source: setlist.fm; note: this performance was previously misremembered as January in fan communities). It is the only confirmed record of her sharing a stage with Taylor after leaving the band.

And in this exact window, Taylor wrote Love Story. Of the 13 songs on Fearless's standard edition, most were written between 2006 and 2007: White Horse and You're Not Sorry were finished as early as 2006; Fearless, Fifteen, Change, Breathe, Tell Me Why, The Best Day, and The Way I Loved You were all written in 2007. Love Story belongs to a small handful written in 2008. Taylor confirmed in her 2010 Rolling Stone interview: "Love Story wasn't technically the last one, but it was very, very last minute." According to Liv Spencer's Everyday Is a Fairytale, the entire song was written in about 20 minutes, and a rough demo was cut the next day in 15 minutes. Inner Circle (a Taylor Swift unreleased-song collecting community) described the demo: "The song is so new to her that Taylor even briefly forgets the lyrics at one spot." Nathan Chapman confirmed in a ProAudio Review interview that Love Story was formally recorded in March 2008 at Nashville's Blackbird Studio. (sources: Rolling Stone; Tumblr @taylor-on-your-dash, "Sorting All 300 Taylor Swift Songs by Year"; Stage Right Secrets; Web Archive)

Taylor has described this song's origin on multiple occasions. On VH1 Storytellers in 2012, she said she was furious that her parents wouldn't let her be with someone older, ran to her room, and wrote the song. In an April 2026 New York Times Magazine interview reported by Page Six, she again described the scene. (source: Page Six)

The timing matches exactly. The verse says Emily came back about three months after leaving and admitted that this was love, and Taylor, near that same time, wrote a song about a love forbidden by her parents. She gave the song a Romeo and Juliet frame, but deliberately rewrote the ending: the father gives consent, Romeo proposes, Juliet says yes. Taylor's own explanation: "I really loved the story of Romeo and Juliet, except for the ending because that was just like too devastating to process. So, I changed the ending in the song."

She changed the ending because the real ending was too devastating.

Stage 4: shame and the lifeless frame. All Too Well presents the very ending she could not face in Love Story.

When Emily comes back and admits "this is love," everything changes. During the tour, the relationship could perhaps exist on the edge of her parents' field of vision; but Emily's departure in itself already signaled that it had been discovered and shut down. Now that Emily has returned, Taylor can no longer evade the verdict her parents have already delivered. They are confronting the social rules about which relationships are permitted, and her parents are the most direct enforcer of those rules. And when the rules are retroactively applied to the previous year of closeness, those once-innocent intimacies are redefined. The message Taylor receives is not "you did a wrong thing" but "your feelings themselves are the problem." This is the source of shame rather than guilt. And this kind of shame is nearly impossible to dismantle from inside: an 18-year-old trying to say "I consented" only has that response read as evidence of having been influenced. The Love Story line precisely describes this trap: "They're tryna tell me how to feel / This love is difficult, but it's real." They try to define my feelings, but I know this is real.

Taylor revealed in a November 2008 Morning Call interview that this lyric was originally "This love is different, but it's real." The released version changed it to "difficult." "Different" pointed directly at the nature of this relationship, namely that it wasn't like "normal" love; rewriting it to "difficult" shifted the focus from the essence (different) to external resistance (difficult), more generic, more safe. But her original intent is preserved in the interview: "I thought, 'This love is different, but it's real.' And I knew I needed to put that line in somewhere. I think that this song is really more about a love that's not convenient and not as comfortable as something else, but it's something you have to fight for." (source: Morning Call, November 9, 2008, transcribed at Tumblr)

A brief digression on Love Story. In a September 2008 Billboard interview around the song's release, Taylor's description went far beyond "parents disapproving of a slightly older boy."

In a September 12, 2008 Billboard interview with Jonathan Cohen, Taylor described Love Story:

"It's about a love that you've got to hide because for whatever reason it wouldn't go over well. I spun it in the direction of Romeo and Juliet; our parents are fighting. I relate to it more as a love that you cannot really elaborate on, a love that maybe society wouldn't accept or maybe your friends wouldn't accept."

(Original link defunct; quote preserved at Taylor Swift Fandom Wiki)

Note her wording: "got to hide," "cannot really elaborate on," "society wouldn't accept." If Love Story's inspiration came merely from a relationship with a slightly older man, whether fans' speculative Martin Johnson or anyone else, these descriptions are far too heavy. A 22-year-old male singer dating 18-year-old Taylor in 2008 doesn't need to be hidden; society wouldn't reject it; friends wouldn't reject it; Taylor could fully "elaborate on" it. But if the song is really about a relationship with an older woman, every word lands precisely. You have to hide it, because you can't explain to anyone that "the one I love is a girl." Society doesn't accept it, because the 2007–2008 country music industry had near-zero tolerance for queerness.

And "I spun it in the direction of Romeo and Juliet" is itself a confession: she admits Romeo and Juliet is a direction, a chosen narrative frame, not the story itself. The real story is what she "cannot really elaborate on." She can only turn it into the shell of a heterosexual tragedy so it can be sung publicly.

Love Story opens and closes with "We were both young when I first saw you," and especially after the ending where the father consents and the proposal succeeds, she chose to close the whole song with this line. If it were just setting the time frame, putting it at the start would have been enough. The repetition at the end functions more like a proven thesis: "We were both young, so this relationship is not wrong." When Emily joined Taylor's team in July 2006, she had just turned 21; from 16-year-old Taylor's perspective, the distance between them was the distance between two young people, not the distance between an adult and a child. The "both" in "both young" is the load-bearing word. It's not just that I was young; she was young too. This is precisely the most instinctive defense a teenager gives when accused of an age gap.

Taylor and her mother have both said in interviews that Taylor was only 17 when she wrote Love Story, but the song was written and recorded in March 2008, by which point she was 18. This could be a memory slip, but it could also be that the argument with her parents first happened in 2007, when Emily was still in the band and Taylor was 17. The "17" isn't the writing age of the song; it's the age at which the conflict erupted, an age that, used as a number in the argument, lodged itself deep in everyone's memory.

So when Emily finally returns and says "this is love," Taylor reaches out to her ("I reached for you"), but all she can feel is shame. It isn't that she has stopped loving. The love has been pressed flat by shame. What Emily holds is a Taylor hollowed out by shame. "You held my lifeless frame" directly echoes Romeo holding the drug-stilled Juliet in Shakespeare's original. Taylor isn't dead; she still loves Emily deeply; but shame leaves her unable to respond, like a body that only looks lifeless. In Love Story, the father said yes; in All Too Well, what the parents leave behind is shame. Love Story is the version Taylor wanted; All Too Well is the version that actually happened.

II. And there we are again when nobody had to know

And there we are again when nobody had to know You kept me like a secret, but I kept you like an oath Sacred prayer and we'd swear To remember it all too well, yeah

1. What these lyrics describe

The narrator returns to a period when everything between the two of them needed to remain unknown to anyone else. In that period, the other person chose to keep the narrator as a secret, while the narrator chose to keep the other person as an oath. They had together sworn to remember everything between them.

The contrast between secret and oath is the core of this verse. A secret means something one is unwilling to let others know, tinged with avoidance or shame; an oath means a solemn, inviolable promise, with sacred weight. The same relationship, handled in two completely different ways. The would in "we'd swear" is a habitual past tense, meaning the act of swearing happened repeatedly, as a ritual between them.

"Sacred prayer" carries a weight that the religious surface alone doesn't capture. A prayer, in its deepest sense, is what a person says in their most vulnerable state, to someone they trust absolutely, without performance or defense. Sacred means inviolable; any outside touch is desecration. So "sacred prayer" describes moments of total exposure between two people, moments treated as sacred and untouchable by any third party.

2. The mainstream reading in the Jake context

Under the Jake framework, fans generally read "nobody had to know" and "kept me like a secret" as Jake being unwilling to publicly acknowledge his relationship with Taylor. Jake at the time was about 29 to 30, a privacy-conscious Hollywood actor whose previous relationships with Kirsten Dunst, Reese Witherspoon, and others had all been kept low-key. Fans read this as Jake not formally introducing Taylor as his girlfriend among his friends and industry circle, leaving Taylor feeling she had been treated as "a secret she couldn't say out loud."

"Kept you like an oath" is read as Taylor's investment in this relationship far exceeding the other person's. Jake handled the relationship coolly while Taylor regarded it as a sacred promise of her life. The Absoludicrous blog's literary analysis reads this as a power-imbalance display: the powerful party chooses concealment, the weaker party gives all her devotion to keeping it. (source: Absoludicrous blog)

"Sacred prayer" under this framework is typically read as Taylor over-idealizing the relationship, granting a short romance a religious significance far beyond its actual weight.

This reading sits awkwardly against the facts. During their relationship from October to December 2010, Jake and Taylor were photographed extensively by the media: holding hands in Brooklyn, going to SNL backstage together, drinking coffee in Nashville, shopping with Jake's sister Maggie Gyllenhaal. The relationship was not a secret at the time; nearly every gossip outlet knew. "Nobody had to know" and "kept me like a secret" sit at a clear distance from this public record. Fans typically explain this by saying that although the media did photograph them, Jake never officially acknowledged the relationship in public, so Taylor felt her status wasn't recognized. This holds up, but doesn't fully match the lyric's tone of total concealment (nobody had to know).

3. Re-reading in the Emily context

If the other person is Emily, "nobody had to know" is literally accurate. Inside the closed space of the touring bubble, their relationship didn't need to be defined and didn't need to be explained.

"You kept me like a secret" corresponds to how Emily handled the relationship day to day on tour. Emily was the older one, with more real-world considerations than Taylor. In front of other band members and crew, she may have maintained pure professional distance, with all intimacy reserved for moments without a third person present. This caution was, in context, even responsible: Taylor was still a minor, and Emily had reason to protect both of them. But to Taylor, this caution registered as "you keep me as a secret."

"But I kept you like an oath" corresponds to Taylor's completely different stance in the same period. For a seventeen-year-old, this may have been the first deep relationship of her life; she did not share Emily's real-world concerns, nor the adult sense of proportion about relationships. She placed this love at the highest position of her life from the moment it happened, kept it as an inviolable oath.

During the tour, the asymmetry between secret and oath existed, but had not yet become a source of pain. Emily's secrecy could be read as protection; Taylor's oath could be read as the heat of youth. That flowing, sealed environment held the asymmetry; the two stances could coexist.

"Sacred prayer" in the Emily context has a very concrete picture. Late nights on tour, the bus driving down the highway, everyone else asleep, only the two of them awake. In moments like that, they may have said things to each other they had never said to anyone: about their fears, about their uncertain future, about this relationship they didn't know what to call. The character of those moments is exactly what Taylor calls sacred prayer: a privacy so deep that no third party can hear it, a vulnerability that any outside intrusion would destroy, a preciousness given the highest grade of sacredness.

The real pain emerges after Emily leaves. Emily's "secret" shifts from caution during the tour into permanent silence. In the life story Emily tells her family and friends, Taylor is probably nothing more than "my employer back when I toured." And Taylor's "oath" becomes an oath only she still keeps in her heart.

"We'd swear to remember it all too well" therefore carries a heavier meaning in the Emily context. If the two of them actually swore to remember everything before parting, then "we'd swear" is a promise made jointly. But Emily's later life trajectory shows that she chose to turn the page.

III. Well, maybe we got lost in translation

Well, maybe we got lost in translation Maybe I asked for too much But maybe this thing was a masterpiece till you tore it all up Runnin' scared, I was there I remember it all too well And you call me up again just to break me like a promise So casually cruel in the name of bein' honest I'm a crumpled-up piece of paper lyin' here 'Cause I remember it all, all, all

1. What these lyrics describe

These nine lines form a complete emotional arc from retrospection to present-day heartbreak. This passage was part of the original five-minute version, and as the song's bridge, it is the emotional peak, the part Taylor sings most desperately. The first five lines look back to the moment of separation, trying to understand why it happened; the last four lines jump to the present, describing how a just-happened event has shattered the narrator entirely.

The first half: looking back at the separation

Three "maybe" openers indicate the narrator's uncertainty about the cause of the parting; she is guessing, looking back, searching for an answer. "Maybe we got lost in translation" is the first guess: maybe there was a comprehension problem between us, maybe what I thought and what you expressed were not the same thing. "Maybe I asked for too much" is the second guess. "But maybe this thing was a masterpiece 'til you tore it all up" is the third, and the only one with a but turn, exposing the narrator's real judgment: this relationship was once a masterpiece, and you tore it apart.

"Running scared, I was there" follows immediately, supplementing "tore it all up." After tearing the relationship apart, the other person "running scared" fled in fear. "I was there" is the narrator's response: when you fled, I was standing in the same place, I witnessed the whole thing.

The second half: the present-day blow

"And you call me up again just to break me like a promise" is triggered by a just-happened event: the other person made a phone call. "Again" tells us this is not the first time they have re-appeared in the narrator's life.

"Just to break me like a promise" is a double metaphor. On the surface: the only effect of your phone call is to break me again. But "like a promise" adds another layer: the way you break me is as easy as breaking a promise, as if it never mattered in the first place. The essence of a promise is "something that should be kept"; the essence of the narrator is "someone who should be cherished." At the same time, the line hints that the other person once made a specific promise, and this phone call is the moment of announcing that promise will never be honored. The promise breaks; the narrator breaks; they are the same event.

"So casually cruel in the name of being honest" describes the call's tone. The other person speaks "honestly," perhaps explaining why they can't come back, perhaps telling her about a new life situation. These words aren't intended cruelly; the other person may even believe they are doing the right thing. But to the narrator, cruelty wrapped in honesty is harder to bear than deliberate harm, because the other person doesn't even register that they are inflicting it.

"I'm a crumpled-up piece of paper lying here" continues and concludes "masterpiece 'til you tore it all up." The masterpiece is torn; the narrator is the crumpled remnant. She is what that once-perfect work looks like after it has been ruined.

2. Liz Rose's account of the writing

In a MusicRadar interview, Liz Rose recalled the writing of ATW and specifically mentioned the second half of this verse: "I remember the 'You call me up again just to break me like a promise / So casually cruel in the name of being honest' line just falling out of her face. I was writing it down as fast as I could. The emotion hit her and those lines came out." (source: MusicRadar)

Additionally, a Reddit user pointed out: "She's even said before that one of the first lines she said while ad libbing was 'you call me up again' and obviously it doesn't even show up until the very end (in the short version)." (source: Reddit)

This tells us "you call me up again" was the scene playing in Taylor's mind as she walked into the jam session, not the product of cool, sorted reflection. Some recent event had shattered her not long before the session; she walked in with a fresh wound; this was among the first lines that came out of her mouth.

3. The mainstream reading in the Jake context

"Lost in translation" and "asked for too much." Under the Jake framework, fans read "lost in translation" and "asked for too much" as comprehension dislocation caused by the age and life-stage gap. Jake was 29 to 30, Taylor was 20 to 21. They may have had completely different expectations of the same relationship. Taylor thought it was a serious step toward the future; Jake may have only treated it as a short fling.

"Masterpiece 'til you tore it all up." "Tore it all up" is pinned directly on Jake's behaviors: missing her 21st birthday, refusing to acknowledge the relationship, using the age gap as a breakup excuse. (source: Absoludicrous blog)

"Running scared." Under the Jake framework, fans read "running scared" as Jake being afraid of commitment. The Absoludicrous blog writes: "Was her lover simply too afraid of the commitment they shared?" Fans list what Jake was afraid of: admitting the relationship was serious, the social judgment of the age gap, being tied to a young female singer of extreme public visibility.

"Call me up again" and "break me like a promise." Fans generally read "again" as a recurring pattern. Some write that ATW was written during the four months of Jake and Taylor's on-again-off-again period, and "call me up again" refers to Jake reaching out repeatedly after the breakup. The 10-minute version's "check the pulse and come back swearing it's the same / after three months in the grave" is read as a development of this pattern.

Fans in the Jake framework lean toward an "implicit promise" reading of promise. Each instance of Jake reaching out contains the implication "maybe we still have a chance"; the implication is an unspoken promise; each contact ends in renewed harm; the promise is repeatedly broken. (source: Reddit)

"So casually cruel in the name of being honest." Some fans believe the 10-minute version reveals the specific content of casually cruel. Jake says to Taylor: "You said if we were closer in age maybe it would have been fine." Surface-honest as it is, the line pushes responsibility for the breakup onto a fact Taylor cannot change: her age. (source: Reddit)

That said, the Jake-framework reading has a few points that don't quite fit the lyric's tone or the known writing context. Running scared normally describes the response to something genuinely threatening; if Jake is just a 30-year-old actor who didn't want to commit seriously, pulling away or losing interest would be more accurate than scared. Call me up again is read as a recurring pattern, but Liz Rose described this lyric as "falling out of her face" in a moment of sudden eruption, and it was one of the first lines Taylor blurted in the jam session; that points toward a concrete, just-happened trigger event, not a calm review of long-running broken promises.

4. Re-reading in the Emily context

"Lost in translation." If the other person is Emily, "lost in translation" points to two people whose definitions of the same relationship were fundamentally different from the start. They lived through the same span of time, but in each person's inner translation it decoded into entirely different things. Taylor took it as love; Emily may have categorized it as a special intimacy under touring conditions, something that didn't require naming, something that only existed inside that particular environment. This echoes directly with the earlier "you never called it what it was." Emily doesn't name it; Taylor thinks it is only a matter of time; but perhaps Emily never used the frame of "love" to understand the relationship at all, at least not during the tour.

"Maybe I asked for too much." In the Emily context, what Taylor wanted was for Emily to stay, to admit this was love, to face the world together with her. For a 22-year-old working in the conservative country music industry, with a minor employer, this ask may genuinely have been "too much." Taylor in retrospect recognizes this.

"Masterpiece 'til you tore it all up." In the Emily context, masterpiece refers to the perfect world inside the touring bubble, where the two of them shared music, freedom, and intimacy. "Tore it all up" corresponds to Emily's concrete act of leaving the band to attend law school. What she tore wasn't only the relationship but the world they had shared, echoing the earlier "thinking your future was me." Note that Taylor chose tore rather than let go or walked away; tore carries violence and suddenness, suggesting the manner of leaving was more like an abrupt severance.

To understand the precision of tore, one needs to look at two mutually contradictory yet documented narratives about Emily's departure.

Layer one: Emily's active choice.

In a 2022 WDRB interview, Emily clearly displays the active intent behind leaving. She said: "I always in the back of my mind thought I would end up in law school." She revealed that she had secretly signed up for the LSAT during the tour: "We played a show in Pennsylvania, and I didn't tell anyone that I had signed up to take the LSAT." (source: WDRB News, January 2022, WDRB)

This says her leaving was a life decision long brewed, secretly executed. But it also means her exit could have been a planned, gradual transition: exam, results, application, admission, departure, possibly even maintaining contact with Taylor during school.

In an early 2012 Southern Indiana Living interview, Emily further confirmed this: "I started with watching her on the road. She had just started and I lived on the bus with her and her mom, and I was watching you know deals come through. She got this deal with Verizon and instead of, you know I loved music, but I would sit there and read the contracts. I thought, I think I really want to do this. So when I came off the road I pretty much went straight to law school. I loved contracts."

Layer two: traces of being forced out.

But VH1's 2011 Pop Up Video (for the Our Song music video) directly challenges the above smooth narrative. The program stated: "She was allegedly fired without being given a reason." And: "Taylor never talked to her again." (source: Taste of Country, 2011, Taste of Country)

PopCrush's contemporaneous coverage further confirms: "She was apparently fired. She and Swift, who were good pals, no longer speak." (source: PopCrush, PopCrush)

The fissure between the two layers.

A planned, voluntary career pivot does not produce a person being "fired without being given a reason," let alone two formerly inseparable people becoming permanently estranged.

In fact, the shadow of separation had fallen by late November 2007. On November 30, Taylor co-wrote Breathe with Colbie Caillat. The song's lyrics themselves contain both narratives at once: "People are people, and sometimes we change our minds" acknowledges the other person's active choice; while "Nothing we say is gonna save us from the fall out" and "None of us thought it was gonna end that way" point to an ending neither party could control. As early as November 30, 2007, this song had already rehearsed the contradiction described above: Emily really wanted to leave, but the ending was not what anyone wanted, and not something anyone could rescue. Taylor's public description of the song is: "It never blames anybody. Sometimes that's the most difficult part. When it's nobody's fault." (source: That's Country interview, 2008; via Taylor Swift Switzerland fan site) This tells us she knew the real force at work wasn't Emily.

This is exactly why Taylor chose the verb tore. On the surface, the subject of "you tore it all up" is Emily, but tore describes a force tearing something whole apart in an instant. The you here may not point at the hands that did the tearing, but at the originating point of the tear. From Taylor's perspective, Emily is the one who first made the move: she secretly signed up for the LSAT, her center of gravity shifted, and that's when everything started to come loose. Two same-period songs, Tell Me Why and Acting Like A Boy (unreleased), confirm this from Taylor's POV: both describe someone who "never officially dated" her suddenly going hot-and-cold, and Taylor's intense emotional response may itself have been what tipped off the outside world. Emily's choice was the cause, but what accelerated a leave that could have been gradual into a violent severance was a larger structural force behind both of them. "You tore it all up" is less a blame than a tracing of causation: if you hadn't loosened your grip first, none of this would have been torn open.

"Running scared, I was there." The previous section argued that Emily's exit was forcibly accelerated by an outside force into an expulsion. Running scared follows directly: what Emily feared wasn't abstract "commitment" or "intimacy" but a concrete consequence that could destroy her entire life. She was a 22-year-old adult with a forbidden feeling for her 17-year-old minor employer; in the conservative 2007 country music industry and southern community, once this was publicly named, what she faced was legal risk, social death, and the collateral destruction of Taylor's nascent career. Her flight was not only self-preservation but also possibly to protect Taylor, because her continued presence had already become a threat.

Running in this context is closer to literal: she leaves the band, leaves the tour, leaves Taylor's side, physically removing herself from all the environments in which the relationship existed.

And "I was there" in the second half is a passive presence. Taylor is saying: I was there, I watched it all happen, and I could do nothing. Taylor at 17 was crushed by the same force that drove Emily out. Her parents' decision, the company's decision, she had no standing and no power to resist. She was left in place, watching Emily leave in fear.

"And you call me up again just to break me like a promise."

In the Emily context, again doesn't point to a recurring pattern but to the other person calling again after a long silence. They had been cut off since separating in late 2007. There was a stretch of roughly two to three years of silence between them. Then sometime between late 2010 and early 2011, in other words shortly before the ATW jam session, Emily got back in touch with Taylor. The weight of again lies in the fact that you disappeared for so long, and now you reappear.

The word promise itself implies a specific promise had once existed between them. What promise makes sense in the Emily context? When Emily left, Taylor had just turned 18, and the core obstacle between them had always been age. Twenty-one is the U.S. legal milestone for full adulthood, the moment at which "she's too young" entirely loses its force. If Emily, when leaving, had said something like "wait until you're older," then Taylor's waiting had a target. Taylor's 21st birthday is December 13, 2010. The lyric "he watched me watch the front door all night willing you to come / And he said 'it's supposed to be fun, turning 21'" describes that night. Taylor stared at the front door all night, waiting for someone. That someone didn't come.

Emily got engaged in February 2011, only two months after Taylor's 21st birthday. Emily's phone call most likely happened inside that window. She wasn't calling to keep the promise; she was calling to tell Taylor she was letting their past go. "Break me like a promise" is exactly this: Emily broke the promise, and in breaking the promise broke Taylor as well.

"So casually cruel in the name of being honest."

Emily on the phone may have framed it as "being honest with you": I'm going to marry my boyfriend; we can't happen. Emily may even have believed Taylor should hear this from her rather than from elsewhere, treating it as a form of respect. But for Taylor: you made me wait three years, and now you call to tell me you're marrying someone else. That kind of honesty is the most extreme cruelty.

"I'm a crumpled-up piece of paper lying here."

In the Emily context, this crumpled paper forms a complete chain of imagery with the earlier "masterpiece 'til you tore it all up." The world they toured and performed in together was a masterpiece. Emily tore it apart when she left. And after this phone call, Taylor is the wreckage left after the masterpiece was destroyed. She was once part of that painting; now she is only fragments.

"'Cause I remember it all, all, all."

In the Emily context, the repetition of "all, all, all" is a comparative accusation. Taylor is saying: I remember everything. The late nights on the tour bus, sacred prayer, your promises, the things you said. You can choose to get married, turn the page, pretend none of it happened, but I remember.

5. Comparing the two contexts as a whole

In the Jake context, this verse describes a recurring cycle. Jake reaches out repeatedly; each contact gives hope and then takes it back, forming a sustained pattern of wear and tear. Taylor, after long erosion, finally breaks. The arc runs: self-doubt (maybe I asked for too much), confirming the other person is at fault (you tore it all up), continued erosion by repeated contact (call me up again), final collapse (crumpled-up piece of paper).

In the Emily context, this verse describes a one-time destructive blow. After a long wait, one phone call ends everything. Taylor isn't slowly worn down; she is shattered in an instant. The arc runs: looking back at the cause of the parting (three maybes), recalling the image of Emily fleeing in fear (running scared), then time jumps to the present, one phone call destroys the last hope (call me up again), the promise and the person break at the same time (break me like a promise), and the result is a fragment (crumpled-up piece of paper).

This fits much better with Liz Rose's account of the writing. It isn't long-accumulated fatigue finally erupting; it is a freshly inflicted, specific blow triggering these words to pour out of Taylor's body. "The emotion hit her and those lines came out." The emotion that hit her most likely came from Emily's phone call announcing she was about to turn the page.

IV. They say all's well that ends well

They say all's well that ends well, but I'm in a new Hell Every time you double-cross my mind You said if we had been closer in age maybe it would have been fine And that made me want to die The idea you had of me, who was she? A never-needy, ever-lovely jewel whose shine reflects on you Not weeping in a party bathroom Some actress asking me what happened, you That's what happened, you You who charmed my dad with self-effacing jokes Sipping coffee like you're on a late-night show But then he watched me watch the front door all night, willing you to come And he said, "It's supposed to be fun turning twenty-one"

1. What these lyrics describe

The narrator is being tortured repeatedly by a relationship that has long ended. To the outside world it's all in the past (all's well that ends well), but every time this person crosses her mind, it's a new hell and a new betrayal (double-cross puns on "crossing the mind" and "betraying"). The other person once said, "if we'd been closer in age, maybe it would have been fine." That sentence made her want to die, because age is a fact she cannot change; the other person has pinned the failure on something she has no power over. She asks: who was the version of me you had in your head? A never-needy, ever-lovely jewel, existing only to make you look better? Not the real one weeping in a party bathroom, asked by some actress, "what happened?" The scene then shifts to another moment: this person once charmed her father with self-effacing jokes, sipped coffee with the composure of a late-night talk-show guest. But on her 21st birthday, her father watched her stare at the front door all night, willing this person to walk through it, and her father said, "It's supposed to be fun turning twenty-one."

2. The mainstream reading in the Jake context

Fans broadly tie this verse to Taylor's 21st birthday party (December 13, 2010) and Jake's absence, reading it as the same night described in another Red track, The Moment I Knew. The Moment I Knew explicitly describes someone who promised to come to a birthday party but did not show up, the narrator breaking down in the bathroom, a friend chasing after to comfort her, and the other person calling later to apologize.

"They say all's well that ends well" points to outside opinion after the breakup. Taylor and Jake broke up in early 2011 after about three months; to the public it was just two celebrities briefly dating. The media moved on quickly; Jake kept making films; Taylor kept making music; both careers thrived. In everyone else's eyes, the relationship ended, both parties were fine, all was well.

"But I'm in a new hell" directly refutes that external narrative. The surface "everyone's fine" hides Taylor's continuing pain. She can't, as the outside expects, lightly turn the page, because the wound this relationship inflicted runs deeper than a three-month timeline implies. And "every time you double-cross my mind" uses the pun to deliver two layers: every time Jake crosses her mind, the crossing is itself a betrayal (double-cross). Fans differ on what is being betrayed. Some say it's the pain of being abandoned hitting her again each time she remembers him; some point at Jake's manipulative deception (gaslighting) within the relationship; the Absoludicrous blog reads the secrecy of the relationship itself as a betrayal. Jake walked away clean while Taylor carried the pain alone, unable to explain to anyone why a "three-month casual fling" had wrecked her.

(sources: Reddit; Reddit; Absoludicrous blog)

"You said if we had been closer in age maybe it would have been fine" is read as Jake's stated reason for the breakup. The two are about nine years apart (Taylor 20 to 21; Jake 29 to 30). Fans read the cruelty of the line as Jake using age as an excuse, dumping responsibility for the failure onto a fact Taylor cannot alter.

"A never-needy, ever-lovely jewel whose shine reflects on you" is widely read as Jake reducing Taylor to a decorative object. The Absoludicrous blog and Vocal Media's analysis both point out that this reflects a power imbalance in the relationship. Jake wanted a pretty, low-maintenance young woman whose function is to make him look better. When Taylor displayed real emotional needs, she stopped fitting the image he had projected. Vocal Media further reads this as why the age gap appealed to Jake in the first place: younger women are easier to cast in the role of "uncomplicated pretty accessory." (sources: Absoludicrous blog; Vocal Media)

"Some actress asking me what happened" is most often read by fans as an actress at the party seeing Taylor crying in the bathroom and asking what's wrong; Taylor's answer is "you (Jake), you are what happened to me."

"You who charmed my dad with self-effacing jokes / Sipping coffee like you're on a late-night show" is read as Jake meeting Taylor's father, Scott Swift, displaying his social charm and a performer's composure. The Absoludicrous blog reads it as "rehearsed and ultimately shallow," like an actor selling himself.

When The Moment I Knew and All Too Well are placed together on the Jake timeline

Fans generally see The Moment I Knew and this ATW verse as describing the same night (Taylor's 21st birthday, December 13, 2010). The two songs do share many narrative details. But when you try to construct a complete arc by stringing the two together on Jake's timeline, several key issues surface.

"I'm sorry too," and then what? The Moment I Knew ends with a phone call: he says "I'm sorry, I didn't make it," she says "I'm sorry too," "and that was the moment I knew." Fans unanimously read this as the final awakening, the moment she knew the relationship was over. One fan's read is bluntly direct: "'I'm sorry too,' because I'm ending things with you." (source: Reddit). The title itself reinforces the finality: the moment I knew, with the definite article, the single decisive moment.

But on Jake's timeline, what happened after this "final awakening"? People reports that Taylor and Jake's breakup was only formally confirmed on January 4, 2011, meaning the two of them maintained the relationship for nearly three more weeks after the birthday (source: People). On January 19, two weeks after the "official breakup," they had dinner together at Bound'ry in Nashville; witnesses described them as "cordial to one another" and "seemed happy together." On February 27 they crossed paths again at an Oscars party. If the phone call on December 13 was really "the moment I knew," what do these later contacts mean?

ATW itself also describes this back-and-forth. The "again" in "And you call me up again just to break me like a promise" signals this isn't the first time. "Check the pulse and come back swearing it's the same / after three months in the grave" describes the relationship's "death" followed by an attempted reconciliation. This means that in the Jake context, the moment given such terminal weight in The Moment I Knew is in fact only one node in a long on-and-off pattern. Real relationships can run like that, but it weakens the songs' own narrative force.

The jam session's time window. Taylor's ad-lib creation of ATW during a rehearsal happened between mid-to-late December 2010 and early January 2011 (David Cook's first formal performance with the band was January 21, and he was a new addition during this rehearsal). From the December 13 birthday to the jam session is at most a few weeks. Taylor says she walked into the rehearsal room "like a broken human." But under the Jake reading: on December 9 they were still cruising around Los Angeles together. On December 7 she had met his sister Maggie and his niece in Brooklyn. On December 13, although Jake didn't come, he sent gifts worth over a hundred thousand dollars: a Chet Atkins signed guitar, a nearly 30-carat diamond bracelet, 21 pounds of premium Kona coffee with full equipment, and a handmade card (sources: NY Daily News; China Daily). A person who, days earlier, was still dating her, sent her a handwritten card and over a hundred thousand dollars in gifts, but missed one party, and within days to two weeks she became "broken" enough to erupt with all of ATW's emotion in rehearsal? One missed gathering inside a two-month relationship produced this depth of trauma in this short a window?

Stacked together, these issues point at one structural contradiction: the depth and time span of the emotion in the lyrics simply do not fit inside the space the Jake timeline can hold.

3. Re-reading in the Emily context

If this verse is set back on Emily's timeline, every line's emotional intensity sits at a more appropriate weight.

"They say all's well that ends well." By the end of 2010, from the outside both their endings looked fine. Emily had gone to law school; Taylor was already a Grammy winner, three albums in, at the peak of her career. Even Emily's leaving the band was, in the company's official narrative, a positive story: a young woman discovered her real calling during a tour and went to pursue her legal dream.

"But I'm in a new hell" tears that respectable narrative open. Beneath the surface where everyone thinks all is well, every time Taylor remembers this, she drops back into hell. And because this relationship has never been public, no one knows her pain is tied to a fiddle player who left three years ago. She can't even explain to anyone why she is unhappy.

"Every time you double-cross my mind." In the Emily context, double-cross points to the broken promise discussed earlier. Each time Emily's memory crosses Taylor's mind, it repeats the same fact: you said you would come back, but you didn't. The emotional impact of a broken promise equals being betrayed.

"You said if we had been closer in age maybe it would have been fine." In the Emily context, the line differs fundamentally from the Jake reading: it is not an excuse, it is a fact. The age gap between 22 and 17 truly constituted a real, legal obstacle; her parents had real reason to object. And you cannot be angry at a fact. When the other party is offering an excuse, you can rage at them, and rage protects the self by aiming outward. When the other party is stating a fact, there is nowhere for the rage to go, and the pain collapses inward. Reality itself doesn't allow us to be together, and the reason for that reality is my age, which is me. "And that made me want to die" is the response of a person realizing that an unchangeable trait of her own is the root of everything.

"The idea you had of me, who was she? A never-needy, ever-lovely jewel whose shine reflects on you." In the Emily context, this isn't a takedown of being treated as decoration; it is Taylor's guess at the other person's misjudgment of her. Emily, after leaving, sees a rising mega-star: Billboard number ones, Grammy wins, stadium tours. Emily may genuinely have believed Taylor no longer needed her. Never-needy: she has the love of the whole world, she doesn't need me. Ever-lovely: she shines forever on the stage. Whose shine reflects on you: Emily was once part of that shine, as Taylor's fiddler standing beside her on stage; Taylor's light bounced off Emily and made Emily glow on stage too. "The idea you had of me, who was she?" is Taylor asking: did you really think I was the one who didn't need you? Did you really think the version of me standing on stage was the real me?

"Not weeping in a party bathroom / Some actress asking me what happened, you / That's what happened, you." The version of me you imagined doesn't cry in a party bathroom. But the real me does. An actress comes in and asks what happened. Taylor cannot say the truth. She cannot say, "I'm waiting for a woman who left my world three years ago; she promised she would come back today, and I have finally turned the age she needed me to be. But she didn't come. She will never come back." All she can say out loud is someone else's name, while inside she is screaming you, because the one really making her grieve is the one she cannot say out loud.

"You who charmed my dad with self-effacing jokes / Sipping coffee like you're on a late-night show." Emily was once around Taylor's family day in and day out. As a band member she integrated into Taylor's daily life during tours. The way she charmed Scott Swift was not Hollywood-style social skill but the memory left by someone who genuinely lived inside this family. Sipping coffee like you're on a late-night show may describe Emily's ease at the time, the intimacy of someone who once belonged in the household.

The Moment I Knew

If the full lyrics of The Moment I Knew are placed back on Emily's timeline, they provide more narrative detail than ATW alone, and those details further support the above reading.

The Moment I Knew describes someone who genuinely believes the other person will come. Taylor really believes Emily will come back this day. She gets dressed for it ("Standing there in my party dress / In red lipstick"), watches the door all night ("I've got my eye on the door / Just waiting for you to walk in"), repeatedly confirms the promise exists ("You said you'd be here / You said you'd be here"). Three years of waiting press down on this one night, and she completely believes the finish line is tonight.

"With no one to impress" is worth flagging. If the other person is a boyfriend she saw four days ago, dressing up to impress him is normal-but-unremarkable romantic behavior. If the other person is Emily, whom she hasn't seen for three years, the impress carries a different weight entirely. What Taylor wants Emily to see is: I am no longer the 17-year-old kid; I have grown; I am old enough; age is no longer the obstacle.

"What do you say when tears are streaming down your face in front of everyone you know? And what do you do when the one who means the most to you is the one who didn't show?" Both lines' despair fits very well in the Emily context, because Taylor cannot explain to anyone there why she is crying. Her object of waiting, her reason for waiting, her three years, none of it has ever been known to anyone. Everyone in the room is singing Happy birthday to you, and none of them knows what this birthday means to her.

The final phone call: "You called me later and said, 'I'm sorry, I didn't make it' / And I said, 'I'm sorry too' / And that was the moment I knew." This is most likely the same phone call that ATW's "And you call me up again just to break me like a promise" refers to. The Moment I Knew describes that night and the breaking of the promise from the perspective of waiting; ATW describes the destructive nature of the call from a retrospective angle. Put together, the two songs form a complete arc: the wait and the no-show on the birthday night (The Moment I Knew), the subsequent phone call that destroyed the last hope (shared by both songs), and the emotional eruption in the jam session (ATW).

What Emily said on the phone was more than "I didn't make it tonight." "I'm sorry, I didn't make it," placed in the context of a three-year promise, points not only to missing the party but possibly also to I couldn't make it, I couldn't come back to you. Taylor's reply, "I'm sorry too," is the confirmation of the relationship's end. I'm sorry too, sorry that we ended up here. This "I'm sorry too" echoes the repeated "I'm sorry" at the end of Breathe across three years. At the end of 2007 Taylor apologized for being powerless to change reality; at the end of 2010 she apologized for finally accepting it.

V. Time won't fly

Time won't fly, it's like I'm paralyzed by it I'd like to be my old self again But I'm still tryin' to find it After plaid shirt days and nights when you made me your own Now you mail back my things and I walk home alone But you keep my old scarf from that very first week 'Cause it reminds you of innocence and it smells like me You can't get rid of it 'Cause you remember it all too well, yeah 'Cause there we are again when I loved you so Back before you lost the one real thing you've ever known It was rare, I was there I remember it all too well

1. What these lyrics describe

This verse shifts the song's grammatical subject from "I" to the other person's perspective. The first three lines describe a state of paralysis after the breakup. Time isn't moving forward; the narrator is stuck in place, wanting to return to the self she was before this relationship, only to discover that person no longer exists. The relationship has changed her so deeply that she cannot return to who she was before knowing the other person.

"After plaid shirt days and nights when you made me your own" is a final look back at past intimacy. Made me your own is heavy phrasing, marking a stage of total mutual possession. The line that follows, "now you mail back my things and I walk home alone," creates one of the song's sharpest temporal contrasts: from "you made me yours" to "you won't even see me in person; mailing my things back will do." Strictly speaking, "mailing things back" and "walking home alone" don't belong to the same scene, but the lyrics deliberately juxtapose them, generating the picture of a person walking down a road alone holding the box of their returned belongings.

"But you keep my old scarf" is a key turn. Up to this point the narrator has been positioned as the one who was discarded: things mailed back, walking alone, unable to find herself. But this line abruptly reverses the perspective. Of all the things returned, one is kept, which means the other person hasn't fully let go either. "It reminds you of innocence and it smells like me" gives this object a doubled sensory and emotional weight: it is both the symbol of an innocent period and the physical residue of the narrator herself (her scent). "You can't get rid of it" is the narrator's verdict on the other person's inner state: it isn't that you forgot to return it, it's that you cannot bring yourself to throw it away. And "'cause you remember it all too well" hands the song's signature phrase to the other person for the first time. Until now, the subject of remember it all too well has always been I; here it becomes you, meaning the narrator refuses to carry the weight of this memory alone. She pulls the other person into the same trap.

The final four lines complete the ultimate inversion of power. "When I loved you so" affirms the past feeling. "Back before you lost the one real thing you've ever known" is the narrator's most aggressive judgment of the other person in the entire song: the only real thing in your life was the love I had for you, and you lost it with your own hands. "It was rare, I was there" makes a doubled declaration in two minimal phrases: this relationship was precious (rare), and I was its witness and participant (I was there). "I remember it all too well," by this final reprise, is no longer only painful memory; it is a power statement. I remember everything, meaning I hold the full narrative right to this relationship; you cannot deny it, edit it, or make it disappear.

2. The mainstream reading in the Jake context

"Time won't fly, it's like I'm paralyzed by it / I'd like to be my old self again / But I'm still tryin' to find it" is read by fans as Taylor's inability to recover after a brief but intense relationship with Jake. (source: Reddit)

"Plaid shirt days" is associated with autumn and Jake's signature flannel-shirt style.

The scarf is the most iconic image in the entire song. At TIFF 2022, Taylor confirmed "the scarf is a metaphor," and fans split into camps. One camp reads it as virginity. Rova reports that fans took the confirmation as evidence for the virginity reading. Another camp reads it more broadly as the loss of first trust and first vulnerability. Some fans cite Taylor's earlier remark that the scarf represents "the part of a relationship that you leave behind." The Absoludicrous blog emphasizes the power dynamic: "He chooses not to give it back, because there's a part of him that is broken up by the relationship as well... He may have never acted like he cared, but this line asserts that our narrator isn't fooled."

"Back before you lost the one real thing you've ever known" has several mainstream readings. Some fans argue Jake's life is full of fake artistic posturing: "organic shoes," "indie records," "cool indie music concerts" are all image construction, and Taylor was the one real thing in it, echoing I Bet You Think About Me's line "last time you felt free was when none of that shit mattered cause you were with me." Others argue it was something Jake said during the height of the romance and later denied, with Taylor returning his own line to him in the song. (source: Reddit)

But this line has an obvious factual problem when applied to Jake. As one user put it bluntly: "this is a really weird lyric cause Jake had way longer relationships before her." Jake had previously dated Kirsten Dunst for about two years and Reese Witherspoon for about two years, both public and serious relationships. Users in r/SwiftlyNeutral were more direct: "'back before you lost the one real thing you've ever known' is blatantly inaccurate if taken literally about Jake, who had been in several serious long term relationships before Taylor, and that's fine!! Taylor's job is to write a song, not a nonfictional autobiography." Others called the line "very presumptuous," reading it as Taylor's one-sided projection of the other person still being hung up on her. (source: Reddit)

"It was rare, I was there" is most commonly understood as a counter to gaslighting. One fan explained: "the way you kind of have to remind yourself that it was real and you were there and it actually happened... because it feels like the other person doesn't remember it at all." Others connected it more specifically to the lyrics: "'He never called it what it was,' 'You kept me like a secret,' the other person kept denying the depth of this relationship, so she needs to keep affirming 'It WAS rare. I WAS there,' both as self-comfort and as a declaration to the other person." (source: Reddit)

3. Re-reading in the Emily context

"Time won't fly, it's like I'm paralyzed by it / I'd like to be my old self again / But I'm still tryin' to find it." What Taylor lost isn't just a romantic self; it's an entire identity. The girl who had Emily beside her on tour, who watched Grey's Anatomy together on the bus, who did makeup together backstage, who locked eyes with her fiddler on stage, that Taylor ceased to exist after Emily left. The career kept climbing, new musicians joined, but the world the two of them shared vanished permanently. "Paralyzed by it" points to a stasis she cannot explain to anyone. Everyone sees her progressing, succeeding; no one knows she is frozen internally at some moment in December 2007, because no one knows what that moment meant.

"After plaid shirt days and nights when you made me your own." In the Emily context, "made me your own" carries a double meaning. Emily's LinkedIn lists her responsibilities in Taylor's team as including image management and artist relations; she participated professionally in the early shaping of Taylor as an artist. In the emotional sense, the days and nights of touring together made Taylor Emily's person. "Plaid shirt days and nights" corresponds to those private moments during 2006–2007 touring that had no public gaze: late nights on the bus, gaps between shows, sealed spaces flowing between cities. "Now you mail back my things and I walk home alone" echoes the way this relationship ended, severed by external force. The return of belongings (if it happened) could only be done by mail or through a third party. "I walk home alone" has a literal dimension in the touring context: after Emily left, Taylor no longer had that person walking with her off stage, back to the bus, into every late night.

"But you keep my old scarf from that very first week." Users in r/GaylorSwift have proposed that the "scarf" may correspond to a flamingo bandana Taylor gave Emily. In an early MySpace video, Taylor wrote a card reading "I love you, Emily" and gave this bandana as a gift. (source: Taymily Masterpost, Tumblr)

Whether or not this specific correspondence holds, "it reminds you of innocence" in the Emily context carries a doubled meaning. The innocence has no limiting modifier, so it can refer both to Taylor's innocence (the sixteen-year-old, just starting to tour, not yet shaped by the industry machine or public narrative) and to Emily's own innocence. The Emily of 2006–2007 was a young woman bold enough to follow a teenage country singer across the country, someone who didn't yet need to explain her life choices to family and community. The scarf reminds her not only of Taylor's former purity but of her own former freedom, a fearlessness that was gradually surrendered in her later life trajectory, a "fuck the patriarchy" kind of courage. "You can't get rid of it" in this context means more than "you can't throw away an ex's belonging"; it means you cannot truly erase the fact that you were once that person. You can't discard it, because discarding it would mean denying that you once truly lived.

"'Cause you remember it all too well." Taylor's judgment is that Emily also remembers everything, that Emily also hasn't truly let go, that Emily's choice not to speak about it doesn't mean it doesn't exist.

"Back before you lost the one real thing you've ever known." This line sounds presumptuous in the Jake context because Jake had multiple serious long-term relationships before Taylor; calling a 12-week romance "the only real thing you've ever known" doesn't hold up factually. But in the Emily context, the logic is entirely different. Emily left Taylor and returned to a conventional life path. So "the one real thing you've ever known" becomes a desperate accusation: in the socially sanctioned life you were forced back into, only what we had was something you freely chose, something you genuinely felt. One user captured this precisely: "lines like 'the one real thing you've ever known' sound a lot like something she might scream into the sky after her ex-lover (f) marries the dude she was really dating the whole time." (source: Reddit)

"It was rare, I was there / I remember it all too well." In the Emily context, the other person's "denial" of this relationship is far more total than anything in the Jake narrative. Jake never publicly denied dating Taylor; in an Esquire interview he said "I don't begrudge anyone," acknowledging the relationship existed while choosing not to comment on details. Emily's handling is a structural silence. She used her entire subsequent life to rewrite the narrative, reducing her time with Taylor to a work experience that inspired her to attend law school. In her 2022 WDRB interview (source: WDRB), every word Emily uses to describe that period is professional: contracts, business operations, the spark for law school. Not a single word hints that the time meant more to her than a job.

"It was rare, I was there" therefore becomes Taylor's refusal of this narrative rewrite. No matter how you now choose to tell the story of that time, whether as an interesting job, a youthful adventure, or a stepping stone to your legal career, I was there, and I know what it really was. It wasn't just a line on your resume, wasn't just material for a heartwarming anecdote in a community newspaper interview. It really happened, it was precious, and I am the only one still guarding it as a witness.

4. Deletion traces in the Lover journal

In the journal pages collected in Lover Deluxe Edition 4, Taylor's handwritten manuscript labeled "All Too Well lyrics, Final Draft" (March 2011) contains a clear deletion. After writing "But you keep my old scarf... cause you remember it all too well," four lines appear that have been crossed out entirely:

There we are again / You're crying on the phone / Realized you lost / The one real thing you've ever known

Below the strikethrough, Taylor wrote the replacement:

There we are again when I loved you so / Before Back before you lost / The only ONE real thing you've ever known

(sources: Reddit u/salixia transcription; u/falldiewakefly word-by-word examination)

The Jake context's difficulty. In the mainstream reading, Jake's image across the entire song is highly consistent: he is casually cruel in the name of being honest, he kept me like a secret, he maintains a curated indie facade. Fans have constructed a figure who is consistently cold, refusing to acknowledge, condescending in his seniority.

But the person in the crossed-out draft, crying on the phone and realizing he has lost the only real thing he ever had, doesn't fit that image at all. A person who gaslights does not "realize" he has lost something, because the core of gaslighting is precisely refusing to acknowledge reality. And fans have already pointed out that "the one real thing you've ever known" sounds presumptuous even coming from Taylor's mouth; the draft has Jake himself also believing this, meaning a thirty-two-year-old man with multiple serious relationships behind him is crying on the phone saying "this was the only real thing I ever had." In the Jake context, that verges on impossible.

Fan reactions to the deleted lyric confirm the awkwardness. One comment reads: "Rly Jake? Cryin' over the phone?" in a tone of mockery and disbelief. Others link it to WANEGBT's "called me up again tonight" as further evidence of Jake's repeated pestering. (source: Reddit) But no one asks the follow-up question: if this phone call really happened, how does it coexist with the cold, aloof Jake that the rest of the song constructs?

The Emily context. If the other person is Emily, this phone call and these tears make far more sense. Emily left the tour, entered law school, and got engaged to her high school boyfriend (February 2011). At some point along this trajectory, perhaps when she decided to leave, perhaps when she returned home and realized she was re-entering a preset life track, perhaps around the engagement, Emily as a young woman calling to cry, and in that moment realizing she had lost something real, is entirely coherent in emotional logic.

VI. And I was never good at telling jokes

And I was never good at telling jokes, but the punch line goes "I'll get older, but your lovers stay my age" From when your Brooklyn broke my skin and bones I'm a soldier who's returning half her weight And did the twin flame bruise paint you blue? Just between us, did the love affair maim you, too? 'Cause in this city's barren cold I still remember the first fall of snow And how it glistened as it fell I remember it all too well

1. What these lyrics describe

"And I was never good at telling jokes, but the punch line goes: 'I'll get older, but your lovers stay my age.'" A devastating accusation wrapped in the form of a joke. A "punch line" is supposed to make people laugh, but this one silences the room. Taylor says she's bad at jokes, yet what follows has the precise structure of irony: it adapts a classic movie line (from Dazed and Confused: "I get older, they stay the same age") and uses dark humor to expose the other person's emotional pattern.

"From when your Brooklyn broke my skin and bones / I'm a soldier who's returning half her weight." The narrator frames the relationship's damage as war trauma. "Brooklyn" on the surface is a place name, but it also carries a bowling pun: in bowling, a "Brooklyn" is when the ball crosses the center line and hits the wrong side (a crossover), originating from New York bowlers' slang for "going over the line." "Skin and bones" means a person's entire composition, surface to core; "broke my skin and bones" means shattered from the outside in. "Returning half her weight" continues the logic: after being broken apart, she comes back alive but no longer whole.

"And did the twin flame bruise paint you blue?" "Twin flame" is a spiritual concept describing two people who share one soul, whose meeting produces an intensely powerful connection but often devastating pain. This line layers three meanings of blue: the blue of a bruise, the blue of the hottest flame, and the blue of sadness.

"Just between us, did the love affair maim you, too?" "Maim" means to permanently disable, to cause irreversible damage, far heavier than hurt, wound, or break. "Too" is the key word: Taylor states as established fact that she has been maimed; the question is whether the other person has been as well. "Just between us" confines the question to a space only the two of them share.

"'Cause in this city's barren cold / I still remember the first fall of snow / And how it glistened as it fell / I remember it all too well." The "'Cause" connects all the preceding questions to this quiet image. The reason she asks all of this is that she still remembers that snow. "Glistened as it fell" contains a double meaning: "fell" is both snow falling and the past tense of "fall" (to collapse), hinting that even in the process of losing, there was beauty. "Still remember" tells us that after all the anger, pain, and growth, this image has not faded.

2. The mainstream reading in the Jake context

"Your lovers stay my age" is one of the most widely cited attacks in the song. Jake was about 29 when he dated Taylor (then about 20). His subsequent public relationships have continued to skew younger. Reddit analyses call the pattern "exploitative" outright. Combined with the earlier "You said if we had been closer in age maybe it would have been fine, and that made me want to die," fans argue that Jake used the age gap as a breakup excuse but then kept dating women the same age or younger, proving age was never the real issue. The punch line in the Jake context is objectively funny: it has ironic structure, an unexpected turn. But it's the kind of funny that makes you stop laughing, because it's true.

"Your Brooklyn broke my skin and bones." Reddit fans (Reddit) read "Brooklyn" as the place where Jake lives (his sister Maggie lives in Brooklyn); "your Brooklyn" means "your world, your circle," and that world broke Taylor. Another reading sees a simultaneous pun on "Brooklyn broke" (a rich person performing poverty), since Jake's family is wealthy (father Stephen Gyllenhaal is a director, mother Naomi Foner a screenwriter) but his lifestyle projects a pseudo-bohemian quality, consistent with the "organic shoes" and "million dollar couch" Taylor references in other songs.

"Twin flame bruise." Reddit fans (Reddit) unpacked the multiple layers. Fans note that Taylor and Jake are both Sagittarius (fire sign), born only 6 days apart, echoing State of Grace's "twin fire signs, four blue eyes." Some fans suggest the two may have called each other twin flames during the relationship. Others argue that older, controlling men often use "twin flame" rhetoric to create an isolating "only us" dynamic.

3. Problems in the Jake context

But when this verse is examined closely against the Jake timeline, multiple contradictions emerge.

"Your lovers stay my age" had no factual basis in 2010-2012. This is the biggest problem already flagged by r/SwiftlyNeutral users. One user stated directly: "The line about Jake Gyllenhaal's girlfriends staying her age wouldn't have made sense back when they dated. He dated Kirsten Dunst, who's only two years younger, and then dated Reese Witherspoon, who's four years older." (source: Reddit) Add Jenny Lewis (five years older than Jake), and the Jake dating history visible to Taylor in 2011 contained no pattern of "your lovers stay my age." The line only works after 2021, when Jake began dating Jeanne Cadieu, sixteen years his junior.

Fans broadly believe this section was written later. One user noted: "The writing style in the last verse is insanely developed compared to the rest of the song. I've always been convinced she wrote it as her 30 something self. It's too much improvement." Others speculate Taylor may have casually said "about ten minutes" years ago and later had to fill the length when fans demanded the full version. (sources: Reddit; Reddit)

The emotional intensity continues to mismatch the relationship's actual scale. "From when your Brooklyn broke my skin and bones" uses language of destruction. But the entire Taylor-Jake relationship, from first sighting (October 23) to confirmed breakup (early January), spans at most ten weeks. Subtract the early-stage testing and the post-mid-December cooling, and the window of genuine intimacy is probably only the few weeks around Thanksgiving through early December. Taylor writes "from when," a time marker implying a specific moment, but in the known record of sightings there is no single event matching the intensity of "shattered." The same proportional mismatch applies to "twin flame": the term implies "we are two halves of the same soul," a level of connection that a sub-three-month relationship consisting mainly of coffee dates and walks may not be able to bear. This is the same scale problem as "the one real thing you've ever known" discussed earlier.

"Did the love affair maim you, too?" has a near-certain answer. In a 2022 Esquire profile, Jake's own words were: "It has nothing to do with me. It's about her relationship with her fans." (source: People) From observable facts, Jake continued to make films, date, and live normally after the breakup, with no public sign that this relationship inflicted "maim"-level damage. In the Jake context, Taylor's question is almost a rhetorical one to which she already knows the answer: no. That makes "just between us" feel one-sided and awkward.

Taken together, this verse in the Jake context reads more as narrative reconstruction than real-time memory. Its emotional truth comes partly from the original experience but partly from Taylor's retrospective reinterpretation of that experience.

4. Re-reading in the Emily context

"Your lovers stay my age." The person Emily truly loved was her high school sweetheart Eli (both Floyd Central High School class of 2004; source: NAFCED) and, during the tour, 16-year-old Taylor. Both were sixteen or seventeen when Emily fell for them. Emily later returned to Eli and married him, but that looks more like retreating to a socially sanctioned safe choice than a new genuine love. The punch line in the Emily context isn't mocking the other person for repeatedly pursuing younger partners; it is a colder judgment: your emotional roster is permanently closed, and the people on it are frozen at that age forever. Combined with the earlier "back before you lost the one real thing you've ever known," the core accusation running through the entire song is "you betrayed yourself." You abandoned your real desire, retreated to a sanctioned track, and from that point on your emotional life stopped at that year. "I'll get older" doesn't just mean time is passing; it means I am still living forward, and you won't be. And this line already holds true in 2010, without needing to wait until 2021.

"Your Brooklyn broke my skin and bones." Emily is from Indiana and has no connection to New York, so "Brooklyn" cannot be read literally here. In bowling slang, a "Brooklyn" is a ball that crosses the center line and hits the wrong side (a crossover), originating from New York bowlers' term for "going over the line." In the Emily context, "your Brooklyn" can be read as "your crossing of the line." Emily crossed the lines of age, identity, and gender to reach Taylor. But the consequences of that crossing fell entirely on Taylor. Emily crossed the line and then returned to the safe side (Indiana, law school, marriage), while Taylor was knocked down like a bowling pin. "From when" points to a moment she can pinpoint precisely: the day Emily first crossed that line. That event occurred in 2006 or 2007; by the time of the 2010 jam session, three to four years had passed. "I'm a soldier who's returning half her weight" describes the cumulative toll of those three to four years, not three months.

"Twin flame bruise paint you blue." A relationship lasting about a year and a half, in which two people spent every day together in the sealed space of a tour, each occupying the absolute center of the other's life (Taylor was Emily's work, life, and emotional focus; Emily was the closest person to Taylor during her transformation from small-town girl to star), and then forcibly separated. "Twin flame" used here matches the actual depth of the relationship. Taylor is asking: you went back to your safe life, married, became a lawyer, but did this soul-flame connection also leave a bruise on you that never fades?

"Just between us, did the love affair maim you, too?" In the Emily context, "just between us" is literal. This relationship was only ever known to two people. And the key difference from the Jake context is that Taylor genuinely does not know the answer. Jake's public life clearly shows this relationship did not "maim" him. But Emily's silence is opaque. Taylor doesn't know whether the other person truly turned the page, or whether she too, on some night, remembering that first snow, feels incomplete. The power of this question lies precisely in the fact that it is a real question, not a rhetorical one.

'Cause in this city's barren cold / I still remember the first fall of snow / And how it glistened as it fell." That snow may have fallen in some city during the 2007 fall-winter tour, the two of them watching the first snowflake glisten in the air together. "Still remember" carries real temporal weight here, because it isn't "I still remember something from three months ago" (of course you do); it is "a single moment from many years ago has never faded."

This verse in the Emily context also contains elements of reconstruction, because anyone describing a past experience in language years later is inevitably reconstructing. Taylor's choice of "twin flame" in 2021, her choice of "maim," her choice of the "soldier" metaphor: these are rhetorical decisions made by the present-day Taylor, not language the 2011 Taylor would have used.

But the key difference is the direction of the reconstruction. In the Jake context, the reconstruction is "adding weight upward," artificially making a light experience heavier. In the Emily context, the reconstruction is "finally finding the language," giving a first voice to an experience that was always heavy enough but was never allowed to be expressed. This is the difference between "a mature person finally naming a wound precisely" and "a person repackaging something ten years later into something bigger than it was."

Closing reflection

To me, the song All Too Well (10 Minute Version) is so queer, and also a sister song to Good Luck Babe (Chappell Roan).

Disclaimer: Death of the author because the old Taylor is dead anyway, so I can make up whatever I want about this song. Once you put something out into the world, it’s open season for interpretation, and it doesn’t matter if the interpretation is ‘correct’. For the sake of this post, I’m referring to the relationship in All Too Well (10 Minute Version) as sapphic, because that’s how I choose to interpret the song, and it’s not a judgment on Taylor’s actual life. I’m also going to just say All Too Well, but I mean the ten minute version.

The lyric “I was thinking… ‘any day now, he’s gonna call it love’, you never called it what it was” is almost an exact copy of the lyrics “you don’t wanna call it love”, and “you can say that we are nothing but you know the truth”. The speakers’ lovers don’t want to admit that the relationship is love, that it’s serious, because doing so would force them to come to terms with their own sexuality. All Too Well differs from Good Luck Babe in how the speaker thinks about their own sexuality, with the speaker of All Too Well having complex feelings about their sexuality “I reached for you, but all I felt was shame”. The relationship in Good Luck Babe ends because the speaker wanted to be open about their relationship “I just want to love someone who calls me baby”, and in the lyric from All Too Well “maybe I asked for too much, or maybe this thing was a masterpiece before you tore it all up, running scared” it’s possibly implied that the speaker asked to be in the open, and her lover left her instead, because of her fear of coming out.

The relationship in both is also secretive. The speaker in Good Luck Babe longs to be openly dating her lover, and while the speaker of All Too Well seems more okay with being a secret, she still took the relationship much more seriously, “there we are again when nobody had to know, you kept me like a secret, but I kept you like an oath”. In the aftermath of the All Too Well relationship, the speaker knows she can’t publicly address their breakup, so she asks “just between us did the love affair maim you too?”. She wants to know if despite her ex-lover being the one to end it, and claiming the relationship wasn’t love, the relationship still affected her, too.

After both of these relationships end, the speakers’ lovers move on to straight relationships. In the iconic bridge of Good Luck Babe, Chappell sings “When you wake up next to him in the middle of the night, your head in your hands, you’re nothing more than his wife. And when you think about me all those years ago, you’re standing face to face with ‘I told you so’”, and in the chorus, she sings “you’d have to stop the world just to stop the feeling”. Despite her ex-lover’s attempts to forget the relationship and move on to men, she can’t, because what she had with the speaker was real, and her relationships with men were not. A similar sentiment is expressed in All Too Well with the line “back before you lost the one real thing you’ve ever known”; their relationship was real, but the lover in All Too Well preferred the safety of faking her way through straight relationships. Both people in All Too Well would rather forget about the transformative love affair, but they can’t, because “we’d swear to remember it all too well”. “It was rare” because it was a real relationship, a queer relationship, that neither of them had experienced before.

I've been going down the Emily Poe rabbit hole, since wondering about the significance of Haunted being played twice on 6/9. I've seen people point out (like Nikki on TikTok) the comparison between Haunted and Breathe with the "Can't breathe whenever you're gone" line, and we basically know Breathe is about Emily.

While diving down this rabbit hole, I discovered Emily's birthday is June 1st- and from what I've seen, there were no Eras shows on this date so it's pretty *close* to her birthday, and maybe a date that's significant to them.

Going further, I found one of the first performances they did together at the Whiskey a Go Go in 2006, the first song to play being "Our Song." While watching, the lyrics really hit me as how queer this song could actually be, particularly:

-The premise of the song is Taylor saying I've listened to ALL kinds of music and NONE of it describes our love, our relationship. I can imagine in 2006, a song about Sapphic love WOULD be difficult to find and so, she wrote one of her own.

-Sneaking around, late at night, quiet on the phone because "your mama don't know" which...yeah, maybe she doesn't know you're...on the phone? I guess? That, or...she doesn't know you're dating a girl.

-The line "Man, I didn't kiss her, and I should have." yada yada, male perspective, we've heard that before.

Also who is Dear John about? Is it really John Mayer? Her only straight relationship I believe in is Joe Jonas.

Hi!

Thank you sooo much for saying that! It means a lot. I really can't claim that my theories are always 1000% right, but I do make a lot of research before posting, and try to cross check everything.

2. I must admit that when you asked the question, I did not have real solid theories or evidence to give you. I was even bending toward telling you that the song might be about Lizz since the timestamp of the song on Spotiy is 5:27 = Lizz birthday.

3. Considering that Taylor wrote this during Speak Now Era and that Lizz was present during that Era, well it doesn't fit the narrative of the song being about a relationship that has ended some time ago. And also, it would have been really weird to write this song during rehearsal where Lizz was present, if it was about her...

But thanks to you! I did a lot of research to try and find evidences (I read all the timelines but I'm not that well verse in what came before Kaylor and Swiftgron).

I asked what my groupchat thought about this.

Re-read the Taymily Masterpost (X)

Read and watched Taymily interviews

And now! I can say with more confidence, that I'm pretty sure this song is about Emily Poe, her fiddle player that worked with her from 2006-2008.

Now. Here's the evidences:

First. As pointed out by my group chat, the song does not seem to fit Tayliz dynamic. It seems to be talking about a complicated relationship with someone older.

As by the lyrics "you said if we were closer in age, maybe it would have been fine"

So first thing I did is look back as to when it was written.

Here's a piece of interview I found: