Why Cancelled! By Taylor Swift is not the crucifixion we expected about Blake.

A not-so-innocent take on the controversial daunting song.

Photo by Yaopey Yong on Unsplash

I have the tendency to love the most the lyrics that I relate with the least. I cannot help it. It is always the darkest, saltiest lyrics on a song that bring my alter ego to surface And.I.Love.It. Whether it is screaming Maroon Five’s Payphone, rolling on the ground with The Smallest Man Who Ever Lived or spitting whatever lyrics are fed to me by Gracie, Sabrina or even -openly queer- Chappell to my perfectly shining pleasant husband, I love a good scandalous song. And Taylor master’s this craft like no other, so it was no surprise that I felt immediately magnetized by CANCELLED! (Also, Father Figure, The Life of a Showgirl and Actually Romantic… but one brain stroke at a time if anyone cares to read).

I have seen the circulating theories that say that the double LL in CANCELLED! implies the infamy of a different Britannic celebrity, which I do not discard. But I personally believe she does it to have plausible deniability and to keep people guessing. Here I would defend the thesis that it might be predominantly about Blake, with absolute certainty that we would never be able to confirm any of it. And I am okay with that. So, antitheses are welcomed, but I will not try to prove my point as if it was the only possible theory.

In her very tried and true country narrative formula she darkens the classic “you, them, us” progression with this grungy, layered vocal, -dare I say- dragon slayer queen ominous sound.

“You thought that it would be ok, at first.

The situation could be saved, of course.

But they’d already picked out your grave and hearse.

Beware the wrath of masked crusaders.”

Let’s start with the hypothetical premise that this song is indeed about Blake Lively, so let me present you with my very humble evidence of the case. If that were the case, this first verse would be about the terrible, wildly known PR debacle that shadowed the release of the blockbuster book adaptation “It Ends With Us”.

It narrates the mindset of Lively around the negativity she was facing on the choices she made while promoting the movie: 1) as if it was a rom-com, not about heavy topics like domestic violence, 2) focused heavily on the fashion and flowery imagery of it all, 3) seemingly taking over production without a clear idea of what the story was actually about, 4) with a divorced message from the one producer and director Justin Baldoni tried to share, and 5) about her promoting her own and her husband’s misaligned products to the sensitive message of the film. It portrays her as if she was weighting all of these things and believing that she still had the narrative under control. While Taylor, seasoned and well versed in the waves of the ferocious ocean of public and digital criticism tells her that they have already decided her fate. Interesting to note that it was the crusaders the ones who have the verdict.

Did you girl-boss too close to the sun?

Did they catch you having far too much fun?

Come with me, when they see us, they’ll run.

Something wicked this way comes.

While I think the first line is very telling about the third reason mentioned before (seemingly taking over production without a clear idea of what the story was actually about), I think the second one could have different meanings. Either it aligns to what the Sophie Turner theorists believe about her perceived image after her separation or, to my own perception, about Blakes light and bubbly approach while promoting a movie about domestic violence.

The last two lines of the verses, in addition to the underground sonic ambiance of the song as it progresses remind me about that infamous text that Blake send to Baldoni about her being Khaleesi, from Game of Thrones and insinuating that Taylor and Ryan were her dragons. And an oracle of the consequences of it.

Good thing I like my friends cancelled

I like ’em cloaked in Gucci and in scandal

Like my whiskey sour

And poison thorny flowers

Welcome to my underworld

Where it gets quite dark

At least you know exactly who your friends are

They’re the ones with matching scars

When I first heard this song, I felt like I held my breath for the entirety of it expecting Taylor’s verdict. Didn’t we all? We are nosey. And her stance was very clear on Father Figure. It is not unreasonable to expect a direct shot on a song if it comes to her defending her own personal narrative and image. Plus, in this day and age, it feels like Taylor’s thumbs up or down has the power of ancient Roman emperors’. So, when I heard this first line, I thought it was a sarcastic way to label enemies that started as friends.

The next four references could also be about other public figures, but again, this is why I think they are about Blake. The designer reference aligns to our protagonist in all her brand. The main criticism about the movie, even before the scandal, was precisely about how the expensive wardrobe was unrealistic for the nature of the character in the movie. She has been chairwoman of The MET Gala and featured multiple times in Vogue online and printed content. Her scandal is one of the broadest issues that recently took over pop culture and mainstream discussion since the Depp-Heard trial, being mentioned in different platforms from award events to news outlets, and even SNL. I think those two are very clear digs.

The whiskey sour reference seems to be a dig about both of the buzz and booze brands from Blake and Ryan. Just a hint, again plausible deniability but still a decadently fun part of the puzzle.

The “poison thorny flowers”, I believe references the catalyst of the whole scandal, the famously despised quote: “Wear your florals!” This, along with her (again) fashion designer choices that were perceived as her own Barbie or Zendaya PR tour created the snowball of criticism on her tone-deafness regarding the heavy issues of the movie.

On the second half of the chorus, you can hear how Taylor refers to the underworld as hers, but since she refers to the members as “they”, it initially feels like she is some of Hades, the sovereign of said world. Implying that you are now on a blacklist of friendships that “were”.

It’s easy to love you when you’re popular

The optics click, everyone prospers

But one single drop, you’re off the roster

“Tone-deaf and hot, let’s fuckin’ off her”

I would say that given my previous thesis, this verse is very self-explanatory. They were very widely seen together before the media bomb exploded and then, as if it was all initially transactional, it goes radio silent. Saying that she was off the roster made me undeniably affirm that she was stating her verdict. I said, damn, she is cooked, the last sentence put’s the target on her: tone deaf. But again, it is underscored. Which shows that someone else is saying this. So, who is really the judge and jury here?

Did you make a joke only a man could?

Were you just too smug for your own good?

Or bring a tiny violin to a knife fight?

Baby, that all ends tonight

This pre-chorus might be the most ambiguous part and the one that could bring my whole theory down, but if I had to guess, I would associate it with the inversion of Blake’s initial complaint. Right after the whole film campaign turned out to be a mediatic disaster with the divided narratives and the rejection of the public, it becomes public that Blake filed a complaint about alleged harassment in the work environment. To which immediately followed a bunch of documents and clips showing a different narrative, that dissolved much of the sympathy she may have gained with the original campaign. Which made her allegations seem irrelevant in the best scenario and Machiavellian in the worst. “That all ends tonight”, order in the room, please.

The second chorus, with its harmonies resembling the multiple echoey voices of a possessed soul and the thumping rising heartbeat of the drums, goes by without any major change except for the “it will break your heart” instead of “where it gets quite dark”, which to the untrained eye my seem harsher, but to swiftologists, my seem softer(?).

Then, comes the bridge, with her voice sharp and clear, like sliver of light between the dark clouds announcing the angel of judgement. Everyone rise for the verdict, please.

They stood by me

Before my exoneration

They believed I was innocent

So I’m not here for judgement, no …

Absolved.

Acquitted.

Audible gasp. Picture me trying to gather all my files and messy folders spread on a desk. I cannot even process my feelings about this when the bridge continues.

Preluded by the most theatrical and dismal low cellos, she continues: you survived the condemnation, but not without a dark warning…

But if you can’t be good

Then just be better at it

Everyone’s got bodies in the attic

Or took somebody’s man

We’ll take you by the hand

And soon you’ll learn the art

Of never getting caught

My heart drops to the center of my stomach. If her power was not fully displayed before, by this point she cuts straight to it: I have the power to make my worst actions never see the light of day, next time, join the masterclass. The crescendo at the end like an evil laugh. Chills. Holy mother of threats.

The “took somebody’s man” I believe is also a strategy to make more than one character feel like this could be about them. A different friend, who’s story is still in the shadows maybe. Or even herself, who knows.

The next chorus includes more elements that reveal some sort of forgiveness like the “I salute you if you’re much too much to handle” and the “I like it” and “I love it” replies to the whiskey and flowers lines. It turns out that she relates to that powerful women threat that is pushed in misogynistic business environments. The empathy solidifies when she says:

Can’t you see my infamy loves company

Now they’ve broken you like they’ve broken me

But a shattered glass

Is a lot more sharp

And now you know exactly who your friends are

She is imparting the lesson as a fellow battered figure in the industry about how it all builds character. And gives the retroactive warning that relating to her brings the other side of the sword of her almost phenomenal popularity: magnified scrutiny.

She seals the deal with :

You know who we are

We’re the ones with matching scars

You know who we are. We.

There it is. Whispered as a devil that had way too much fun making you sweat. The underworld is not hers, she is also an exile in it. Man, if nothing applies, the sole storytelling of it is thrilling!

So, Innocent…ish.

She is godmother to her children for Lord’s sake, what was I expecting?

I was initially deflated because, as an “enternainee” from the industry, I have to admit that I was expecting the gladiator gruesome fight. Yet, I think this turned out to be an even better outcome. Not because I believe that Lively deserves any acquittal, or doesn’t. That is what actual trials are for and her turn to face the consequences of her actions will come and she will either prove her innocence or not then and there. I am not here for judgement either.

In spite of that, the richness of Taylor’s sublime take on the messiness of human relationships, once again, is the victor of it all. We all have that one friendship that was dragged in the middle of a turmoil, where people took advantage of us, or where a friend misspoke for us or our position in a certain scenario, but who have also showed incredible loyalty, companionship through unspeakable grief or a hand when no one would offer one. One does not just simply write those friends off at a first offense. Trust is built through a series of continuous moments of generosity, kindness, reciprocity. And once the jar is full of trust marbles collected throughout the years, even if a tilt or a bump tips over some of the marbels, you still have many left. Even if they are not as good to others as they are good to you, you can find reasoning to their behavior by being close to them even if you don’t agree with their actions.

In all honesty, I think Taylor does not owe anyone an essay on her stance regarding Blake’s friendship because they exist in the real life and each other’s world. In an era where we want everyone to choose a flag to hang outside their door, it is common to mistake asking for someone’s political views with their own personal preferences. As if the slightest inclination could determine the whole belief system of a person. “If they remain friends it means: she is right winged, vegan hater and Russian spy”. If they don’t “she wants you to change your gender, inject AI through vaccines and eat only tofu”.

While none of us have all our beliefs fully defined, they evolve with time, we can change our minds, we make and will continue to make mistakes and expect some sort of mercy in the process, it is fair to say that this song portrays a similar sentiment. Whether you believe that it is about Blake, or Sophie, Ariana, Katy or whoever, the point is don’t run to the verdict too quickly. Evaluate your history, decide for yourself. Take precautions, yes, but don’t cancel people based on popular belief, but on your personal relationship to them. Huh. Noted, Ms. Swift. Noted.