If Reputation encapsulated Taylor Swift’s villain era, then Midnights established her as the utterly more complex anti-hero (she even has a song literally entitled “Anti-Hero”). Someone who is unapologetic about seeking revenge because they know they have an undeniably good reason for it. Someone who turns what others would call flaws into their biggest strength. Someone who knows that success is the best revenge in the world. Fan-favorite songs like “Vigilante Shit,” “Anti-Hero,” and “Karma”.
“Vigilante Shit” gives major Maddy Perez, Meredith Blake, femme fatale energy. The song literally starts out by saying “Draw the cat eye, sharp enough to kill a man.” What’s more bad bitch than that? Taylor also includes lines like, “they say looks can kill and I might try,” “Lately I’ve been dressin’ for revenge,” and “don’t get sad, get even,” that reek of Gone Girl, Jennifer’s Body energy. These lyrics and fictional characters that no doubt personify these lyrics represent something that’s been all the rage recently; female rage. Recent shows like Kevin Can Fuck Himself and recent films like Promising Young Woman are examples. Women are pissed, but society tells us to sit down and shut up. When in reality, women have every reason in the world to be angry, from the overturn of Roe V. Wade to just our bad ex-boyfriends. These are all reasonable and healthy things for women to be angry about because they are important to us. As Taylor says, “the lady has simply had enough.”
This theme isn’t new to Taylor. She has talked about female rage in songs like “The Man” and “Mad Woman.” Just like anti-heroes, we have every reason for the revenge we seek, but revenge is still perceived as a villainous goal to seek. Reputation perfected it and Midnights gave it a Folklore-esque lyrical touch.
In the song “Anti-Hero”, Taylor paints herself as the anti-hero, which by definition is a deeply flawed protagonist (Think Tony Soprano, Don Draper, Damon Salvatore, Rue Bennett, Miranda Priestley and Severus Snape). Most people would probably never describe themselves as the main character with a corrupted moral compass. However, in reality, we are all anti-heroes. Part of the reason these characters are so beloved is that they are undeniably human. Human beings are anti-heroes, whether we want to admit it or not. We make mistakes and do terrible things. We have flaws and imperfections. That’s what being a human being means. Taylor attempts that in one of her bravest songs to date.
“Karma” was thought of to be a Reputation-esque ballad, however, it turned out to be the exact opposite. It talks about how success is the best revenge. In the surprisingly positive, highly-anticipated song, Taylor relishes in her happiness and success and perceives it as if she is doing something right. Meanwhile, the people the tear her down are spiraling and becoming self-destructive (Cough Kayne West Cough Scooter Braun Cough). As opposed to past songs like “This Is Why We Can’t Have Nice Things” and “Look What You Made Me Do” which are obviously vengeful and in-your-face, “Karma” is self-reflective. She sees all the good things in her life as good karma and all the bad things her haters have as bad karma. Her maturity shines through because of her matter-of-fact storytelling. It’s not told from a bais or snarky perspective, she just describes things the way they are. Her famous feuds are spiraling, but Taylor is thriving.
Mastermind is another unapologetic track. This closing track shows how she owns her meticulous side, even the media once perceived it as calculated. She’s not strategic for vengeance, she’s strategic because she’s smart. In the song, she references difficult, smart-minded activities like Chess and Astronomy, showing how the overall trend has changed Taylor from being a machiavellian try-hard into a savvy businesswoman. In fact, in the bridge, she unapologetically declares why she uses cryptic messages in her songs, marketing, press appearances and music videos. She owns her scheming, machiavellian side and sees it as a strength, not a flaw like many try to make it out to be.
This trend continues on the album with “Lavender Haze” having her own dating history and refusing to be labeled as a slut, but instead by another less sexist 50s term and many more. After so much feuding and drama and media twists and turns, it’s honestly a relief to see Taylor on what the media has perceived as her flaws. And having her share and teach those lessons to use makes it all the greater!