(Mid)nights: the best and worst songs on Taylor Swift’s “Midnights”

Mirroring the theme of unattainable love in “Dress” from artist Taylor Swift’s earlier “Reputation” album, “Maroon” features her color theory about love. Colors are basically a given when it comes to Taylor Swift songs. From passionate reds to golden glows, most of her albums include an entire song dedicated to a single shade. The “Midnights” song “Maroon” is her latest — and represents Taylor’s masterful storytelling. 

But while the contrasting colors of deep red and bright gold represent the stages of love in “Red” and “Lover,” Swifties assume that “Maroon” was written between the two albums — exposing the final puzzle piece of Taylor’s broken relationship.

“Maroon” has the cleanest, and arguably the best, storytelling with the color maroon symbolizing falling out of love. I was left speechless with lyrics like “The rust that grew between telephones / The lips I used to call home / So scarlet it was maroon” — and thankful to have a new Taylor staple in my queue.

With striking lyrics and a confusing beat, “Anti-Hero” describes Taylor’s public life under the spotlight. Throughout “Midnights”, Swift emphasizes the gut-wrenching faults of her public persona, but “Anti-Hero” mocks this character she has become in the public eye.

In “Anti-Hero,” Taylor comments on the scrutiny of modern beauty standards: “I’ll stare directly at the sun but never in the mirror.” She expresses pain in an ironic, self-scrutinizing way that gives us insight into her mental struggles. 

In contrast to the diary entry portrayed in “Maroon,” “Anti-Hero” feels like a 12 a.m. breakdown. I can’t decide if I should be grieving for the young Taylor broken by stardom or laughing along with the almost sinister chorus: “It’s me, hi / I’m the problem, it’s me.” Despite its complexity, “Anti-Hero” is enticing and makes us wonder if Swift is really OK.

Three seconds into “Bejeweled,” I questioned if Taylor was pranking us by including this song. There is no story, no passion and no voice. If this was a scrap of an early album, I’d be less confused. Taylor, what happened? This song is childish, materialistically obsesses on jewels and features generic lyrics like “What’s a girl gotta do? / A diamond’s gotta shine.” 

If there’s a larger metaphor to such a bland song, I — along with the rest of the fandom — am not seeing it.

Swifties are saying that “Bejeweled” flashes us back to Taylor’s self-described “glitter gel pen” era. It seems like Taylor asked a second grader to listen to “Mirrorball,” recite it in their own words, recorded it and stuck it in “Midnights” as if her fandom was clueless. Well, we’re not.  

Without an enticing beat, outer theme or the sleepless highs and lows that Taylor promised, “Bejeweled” shouldn’t have made it out of the recording studio.

If there’s an intended audience for this song, I’m not in it. The chorus started out cringeworthy already: “I don’t start sh– but I can tell you how it ends… / I don’t dress for friends / Lately I’ve been dressing for revenge.” I’m just glad she didn’t expose this vigilante sh– petty attitude for long and decided to include it on “Midnights” and not “Reputation,” because it would’ve tanked the success of the 2017 album.

Some may say this song resembles “I Did Something Bad,” which at least had a catchy chorus. Liars, thieves and cheaters will love this song — but before I go out on Saturday nights, I won’t be singing “I don’t dress for villains / or for innocence / I’m on the vigilante sh– again.” Taylor, let’s rethink this “angry petty” girl persona. 

Taylor didn’t hide any metaphors, Easter Eggs or feelings in “Vigilante Shit” which is not the Taylor we  know and love. This song is too on the nose for any deeper interpretation.