As the title suggests, The Tortured Poets Department is a break-up album, and one that doesn’t disappoint in deconstructing Taylor Swift’s failed relationships and old boyfriends gone bad.
We hear about a chain-smoking man who tells jokes that are “revolting and far too loud” in I Can Fix Him (No Really I Can); a “coward” who pretends to be a “lion” in loml; and we learn about a ghosted Swift in I Can Do It With A Broken Heart, as she sings “I’m so obsessed with him but he avoids me like the plague”.
We’ve all been there, and that’s the trick to Swift‘s wide appeal.
The not-so-subtly titled The Smallest Man Who Ever Lived paints a picture of a drug-taking partner who: “In public, showed me off, then sank in stoned oblivion,” tried to “buy some pills from a friend of friends” and “didn’t measure up in any measure of a man”.
Amid dealing with these waste-of-space men, we learn about a Swift – who contrary to her sparkling and strong public persona – is “depressed,” “crying at the gym,” eating “kid’s cereal,” “unstable… on my knees” and very much the owner of a “broken heart”.
Of course, not all of her songs are purely confessional – she also adopts different personas (for example in But Daddy I Love Him which shares the basic storyline of Madonna’s Papa Don’t Preach), but in each track, we firmly return to Swift and parallels in her much-publicly dissected ‘private’ life.
With a history of writing about her exes (past examples include Joe Jonas, Harry Styles, Jake Gyllenhaal and John Mayer), Swift hasn’t disappointed with seeming allusions to former British boyfriends Joe Alwyn and Matty Healy, plus throws forward to current beau NFL star Travis Kelce.
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So Long, London – positioned fifth in the tracklist, a spot Swift reserves for her most meaningful songs – is a choral ballad and seems to be about the end of her six-year relationship with The Favourite star Alwyn.
Her lyric – “I left all I knew, you left me at the house by the Heath” – references Hampstead Heath in north London where she lived with the star in the early 2020s.
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As much a break-up song with the city as the man, she tells us “I’m just mad as hell cause I loved this place”.
In this song, we also get one of many references to marriage across the album – a theme which might be at the forefront of Swift’s mind?
Wedding bells and babies
So Long, London’s emotional lyric – “You swore that you loved me but where were the clues, I died on the altar waiting for the proof” – rings out loud and clear.
The song that gave the album its title – The Tortured Poets Department – describes a moment that paints a vivid picture: “At dinner you take my ring off my middle finger and put it on the one people put wedding rings on, and that’s the closest I’ve come to my heart exploding.”
In loml (an acronym which stands for Love Of My Life) she sings: “You and I go from one kiss to gettin married… you told me I’m the love of your life.”
In But Daddy I Love Him – a ballad with country tones – she sings: “No, you can’t come to the wedding.”
And in imgonnagetyouback she says: “Whether I’m gonna be your wife or gonna smash up your bike, I haven’t decided yet.”
There’s even a reference to future family in The Manuscript – the final song on the album – with the lyric: “He said that if the sex was half as good as the conversation was, soon they’d be pushing strollers. But soon it was over.”
In Florida!!! (featuring Florence + The Machine) the topic of children comes up again, with Swift escaping to the Everglades, running from friends who “all smell like weed or little babies”.
Loves old and new
The 1975 singer Healy, who Swift is rumoured to have briefly dated following her split from Alwyn, appears to be alluded to in Fortnight – a song featuring Post Malone which will be the first single from the album.
She sings: “I touched you for only a fortnight… I love you, it’s ruining my life.”
In Guilty As Sin, a slow, drum-backed track, Swift describes “fatal fantasies,” “recalling things we never did” and looking back on a past relationship – “how I long for our trysts… How can I be guilty as sin?”
And in But Daddy I Love Him, it’s possible Swift’s hitting back at criticism of her never-officially-confirmed relationship with Healy, telling naysayers: “I’ll tell you something about my good name, it’s mine alone to disgrace.”
The penultimate track on the initial album, The Alchemy, pulls in a wealth of American Football terms – seeming to mark the introduction of her latest relationship with NFL star Travis Kelce.
A swirl of “chemicals” – including “white wine” and “heroin” – are used as metaphors to describe the rush of first attraction amid a slew of sporting analogies.
Swift told her social media followers the album was a reflection of “events, opinions and sentiments from a fleeting and fatalistic moment in time,” calling them “both sensational and sorrowful in equal measure”.
And for Swift, the album itself appears to be a form of closure – in her words: “This period of the author’s life is now over, the chapter closed and boarded up. There is nothing to avenge, no scores to settle once wounds have healed”.
She also refers to personal wounding in the cover slip for the album, calling the period of her life one of “self-harm” and “cardiac arrest”. And on her love battle wounds she told fans: “A good number of them turned out to be self-inflicted”.
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It’s a self-reflection she shares in Who’s Afraid Of Little Old Me, calling herself “fearsome,” “wretched” and “wrong,” singing in the chorus “I was tame, I was gentle, til the circus life made me mean”.
After over two decades in the music industry – a notoriously tough one to survive in let alone thrive in – we perhaps see a glimpse into Swift’s psyche in I Can Do It With A Broken Heart. She sings: “They said, ‘Babe, you gotta fake it til you make it’. And I did. Lights, camera, bitch smile. Even when you want to die.”
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The album features a song inspired by her NFL superstar boyfriend Travis Kelce
The original It Girl
And in Clara Bow (the name of a 1920s American actress for whom the term ‘It Girl’ was coined), the final track of the original album, she gives us a self-referring dig which touches on both the fickleness of the music industry and pokes fun at her own ever-inflating success.
We hear a young wannabe praised by “suits in LA,” telling her: “You look like Taylor Swift in this light, we’re loving it. You’ve got edge she never did.”
Always looking ahead, to her next era, perhaps when her “girlish glow flickers”, a now 30-something Swift is always one step ahead of the industry she’s currently dominating.
As she tells us: “The future’s bright… Dazzling.”
The Tortured Poets Department: The Anthology, featuring 31 tracks, is out now.
Stars including Beyonce, Eva Longoria and Jamie Lee Curtis have pledged funds to support families affected by the fires in Los Angeles – along with Paris Hilton, who is among those who have lost their homes.
US reality star and businesswoman Hiltonhas launched an emergency fund to support families who have been displaced, and kickstarted it with a personal donation of $100,000 dollars (£82,000).
The 43-year-old, who watched her home in Malibu “burn to the ground” as the fires were covered on TV, has also been spending time with animal organisations. She announced on social media that she is fostering a dog whose owners lost their home.
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Paris Hilton posts video of destroyed home
“While I’ve lost my Malibu home, my thoughts are with the countless families who have lost so much more – their homes, cherished keepsakes, the communities they loved, and their sense of stability,” Hilton said in a statement on social media.
Beyonce contributed $2.5m to a newly launched LA Fire Relief Fund, created by her charitable foundation, BeyGOOD.
“The fund is earmarked to aid families in the Altadena/Pasadena area who lost their homes, and to churches and community centres to address the immediate needs of those affected by the wildfires,” the organisation said in a statement.
Beyonce’s mother Tina Knowles lost her bungalow in Malibu in the fires.
“It was my favourite place, my sanctuary, my sacred happy place,” she wrote on Instagram. “Now it is gone. God Bless all the brave men and women in our fire department who risked their lives in dangerous conditions.”
Other celebrities who have donated funds include Desperate Housewives star Longoria and her foundation, the Screen Actors Guild, the Recording Academy, which runs the Grammys, and Oscar-winning actress Jamie Lee Curtis and her family – who have all pledged $1m (£819,000) each.
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Ricki Lake shared on Instagram the moment flames got to her property in Malibu
The fires, which are burning around Los Angeles, come at the start of Hollywood’s awards season.
Organisers of the Oscars have postponed the nominations announcement twice, with the shortlists currently set to be revealed on 23 January, and the event’s annual luncheon ahead of the ceremony has been cancelled.
The show itself is still set to go ahead on 2 March. The Grammys, scheduled for 2 February, is also reportedly still set to go ahead.
The Donetsk theatre in the city of Mariupol was supposed to be a place of safety for hundreds of civilians sheltering during the first few weeks of Russia’s invasion in Ukraine. A sign bearing the word “children” was marked on the ground outside, visible from the air.
On 16 March 2022, the building was bombed. Authorities at the time said about 300 people had died, although some estimates were higher.
The stories of survivors are now being recounted by actors who were among those sheltering in the theatre at the time. Mariupol Drama, a play which opens in the UK this week, features real video footage captured on their phones, and personal items saved from the rubble.
Olena Bila and her partner Ihor Kytrysh, who have acted at the theatre since 2003, managed to escape the devastation with their son, Matvii.
“This is a story with a lot of memories from a previous life,” Olena tells Sky News from Ukraine, speaking through a translator. “We worked and lived in Mariupol and did what we loved. In a few days, we lost everything.”
The family also lost their home. Olena says she hopes the play shows that material possessions are not what’s important.
“We lost the material side of our lives. We want to show for everybody that all items around you, the material side of your life, doesn’t matter… it’s your mind, it’s your soul, it’s your heart [that does].”
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The couple also hope the production will remind people, almost three years on from the start of Russia’s invasion, that the war is still ongoing.
“We are still at war,” Olena says. “It’s our stories, real stories. Not Hollywood fiction, but a story of real people in Ukraine.
“It’s very hard to see that this war is still continuing. We still have no room for our plans for the future.”
After the start of Russia’s invasion in February 2022, the theatre, in the city’s Tsentralnyi district, became a hub for the distribution of medicine, food and water, and a designated gathering point for people hoping to be evacuated from Mariupol via humanitarian corridors.
The building was attacked after weeks of Russian fire on Mariupol.
Vira Lebedynska, the theatre’s head of music and drama, is also one of the performers in Mariupol Drama. When the bombs hit, she was sheltering in an underground room used for music recording which remained mostly untouched, she says.
It saved her.
Russia denied bombing the building deliberately. Following their own investigation, Amnesty International described the attack as a war crime.
British actor David MacCreedy heard about Mariupol Drama and met the actors during an aid trip to Ukraine and says he was struck “by just how powerful it was”. He has been instrumental in bringing the story to the UK.
“It needed to be seen here,” he says.
The play’s actors want to show that despite the destruction of the building, Mariupol’s theatre is still alive.
“Our theatre is fighting,” says Olena.”It is restored not to cry, but to fight.”
Mariupol Drama is on at the Home performing arts centre in Manchester from today until Saturday.
The first episode of a podcast hosted by AI replicating Sir Michael Parkinson has been released – and comedian and podcaster Jenny Eclair has branded it a “terrible, terrible idea”.
The podcast Virtually Parkinson sees AI technology synthetically recreate the late presenter’s voice and style to interview real-life celebrities.
The first episode released on Monday saw the Parkinson AI speak to R&B singer Jason Derulo, who was answering questions about his upbringing, fatherhood and fracturing part of his neck.
Eclair, who co-hosts the podcast Older and Wider with Judith Holder, said it made her “furious”.
Speaking about the podcast on ITV’s Good Morning Britain, Eclair, 64, said: “I’m furious, because there are living people like me who’ve still got mortgages, I’ve just actually mostly got rid of mine.
“But there’s not enough room. I know he was dearly loved and that sort of thing but there’s loads of back catalogue content that people can help themselves to.
“This is a terrible, terrible idea, we’re all fighting over the same space you know, the podcasts and the telly, and everybody’s desperately trying to say ‘me over here, please listen to my stuff’.
“I’ve got a podcast and I don’t think I can compete with Michael Parkinson, even when he’s not living and breathing.”
Virtually Parkinson’s producers Deep Fusion Films, who created the show with the support and involvement of Parkinson’s family and estate, said: “Jenny’s comments are precisely why the podcast was created, AI is a subject which people have strong opinions about, but is AI as scary as people think it is?
“Is it really coming for people’s jobs? Virtually Parkinson exists to explore the relationship between AI and humans, it simply couldn’t do that without having an AI host, so this is not a case of an AI replacing a human job.
“In fact, the podcast is launched at a time when the creative sector has been hit very hard and many find themselves out of work and Virtually Parkinson has created 15 jobs, which otherwise wouldn’t have existed.”
‘A tribute to my dad’
It was Parkinson’s son, Mike Parkinson, who reached out to the company with the idea of creating the podcast as a way to preserve his father’s legacy, calling it “a tribute to my dad”.
Deep Fusion was already using AI technology – dubbed “Squawk” – to allow live humans to speak with voices from the past.
When Mike Parkinson reached out, Deep Fusion drew from a back catalogue of more than 2,000 of his father’s interviews to recreate his voice and interview technique.
The company also expanded to create the project, hiring a new head of creative AI, an AI prompt engineer, researchers, guest bookers, podcast producers, and a sound engineer.
When the podcast was first announced last year, Mike Parkinson said: “I want audiences to marvel at the technology, the cleverness and cheekiness of the concept, but mostly I want them to remember just how good he was at interviewing and enjoy the nostalgia and happy memories.
“Through this platform, his legacy can continue, entertaining a new generation of fans.”
Podcast comes as government embraces AI future
The show’s launch has coincided with the government’s pledge to “mainline AI into the veins” of the UK, claiming that if AI is “fully embraced”, it could bring £47bn to the economy every year.
Announcing his goals to make the UK “the world leader” in AI, prime minister Sir Keir Starmer said: “Artificial Intelligence will drive incredible change in our country. From teachers personalising lessons, to supporting small businesses with their record-keeping, to speeding up planning applications, it has the potential to transform the lives of working people.
“But the AI industry needs a government that is on their side, one that won’t sit back and let opportunities slip through its fingers. And in a world of fierce competition, we cannot stand by. We must move fast and take action to win the global race.”