Taylor Swift Enters Her Happy Era

Sadie Johnson
Oct 14
2 min read

Swift embraces joy in latest album while critics question whether the performance overshadows the depth

By: Sadie Johnson

The Life of a Showgirl has flooded headlines since its release. She’s already broken streaming and sales records (again). Gone is the grayscale heartbreak of The Tortured Poets Department; The Life of a Showgirl is champagne fizz and manicured joy.

Taylor sounds like someone who’s seen the worst parts of love, but decided to fall again anyway. The tonal shift alone has everyone talking.

For the first time in years, Taylor is doing interviews again, openly gushing about her fiancé Travis Kelce and flashing her ring like the world’s biggest Easter egg. No cryptic clues this time, just a woman in love narrating her own happiness.

“Wood” might be her most unhinged pun to date (is it superstition? or a euphemism?), and somewhere, Travis is definitely blushing. Meanwhile, “Actually Romantic” has the fandom torn.

Is it a subtle jab at Charli XCX? Is there beef there? Did Taylor take it too far in her drag? Did Charli actually high five Matty Heely for ghosting Taylor? Even after Taylor let Charli open for her during the Reputation tour? Either way, the song is catchy and relatable to anyone who has gone through a friendship break up.

Let’s not forget about “Father Figure,” where Taylor is bold and triumphant. She is a woman reclaiming her power, master, and narrative. It’s a victory lap disguised as a confessional, reminding everyone she protects her art, her voice and her family.

Of course, not everyone’s buying the sequins. Some critics argue the lyrics aren’t as deep as people interpret them, claiming she’s dumbed them down for Travis. Even Swifties are questioning if this is the same girl that wrote Folklore.

The rollout teased Broadway-level storytelling, but the final product leans more toward radio-friendly romance. Instead of dissecting fame or the pressures of the spotlight, most of the album revolves around her relationship, leaving the showgirl persona feeling more like a costume than a concept.

Critics have called out the over-polished sound, the recycled hooks and a few “cringe” one-liners that fall flat. For an artist who built her legacy on reinvention, some expected more depth. However, Taylor isn’t the sad girl she once was.

This album highlights the joyful chaos, sparkly existentialism, and a fever dream in pink lighting where fame, romance, and self-acceptance all take turns holding the mic. For example, “Fate of Ophelia,” which has gone viral on TikTok with a trending dance, showcases Taylor’s journey through her fame and how she pulled herself out of heartbreak.

The album’s finale, the title track featuring Sabrina Carpenter, feels like an invitation to the stage. It’s a reflection on fame, mentorship, and the spotlight’s double edge.

Taylor’s not stepping aside; she’s widening the beam. While she wants to see others succeed,she can also continue to succeed. The Life of a Showgirl is everything Taylor does best: witty, cinematic, self-aware and maybe just a tiny bit cringey. To Travis, her career, and herself, the album is a love story under a spotlight she no longer fears.

She isn’t tortured anymore. She’s thriving — in sequins.

Sadie Johnson is a sophomore journalism major at UF. She personally adores the album and her favorite song is Father Figure.