The most anticipated and controversial documentary about the pop superstar Taylor Swift was premièred on Netflix. The film was directed by Lana Wilson, and takes its title from “Miss Americana & the Heartbreak Prince,” a track on “Lover,” Swift’s most recent album. (“No cameras catch my pageant smile / I counted days, I counted miles,” .The film covers Swift’s life and her career transitioning, her bravery to be politically vocal which was apparently made a loud noise by an incident in 2013, in which she was sexually assaulted by a radio d.j. named David Mueller at a meet and greet.
Swift is known for her inspiring stance that had freed many convictions of negativities that surrounds her. Being poetic and smart as she is, she is widely known as the smartest celebrities figure out a way to artfully portray themselves that advocates certain causes for the benefit of the many. But “Miss Americana” is a the open book that will tell you what is the real story and why Swift is an artist reckoning with what she’s capable of, and her struggles as a controversial musician. “As I’m reaching thirty, I’m, like, I want to work really hard while society is still tolerating me being successful,” Swift says.
Swift is undeniably privilege. Living in a family with lavish blessings (her father, a stockbroker, and her mother, a former marketing executive, moved their family from Pennsylvania to Tennessee, so that Swift could work Music Row). From the start of her career, Swift was really idealistic and ambitious which made her an hot spot for critics to dismiss her as the typical privilege white-girl rather than a revolutionary artist. Swift had undergone traumatic for be punished for their victories and fames.
The film began when she shows to camera her early journals, a pile of notebooks. For quite a time, Swift says, she used a quill and ink to write. She described her earliest ideology as “do the right thing, do the good thing,” which might seem the right track but suddenly will pull her down. She used to scribble when she was thirteen “my life, my career, my dream, my reality” on one cover. (Swift identifies as Christian in the film, but her idea of goodness has less to do with morality than with the overwhelming demands of late capitalism—for Swift, goodness is mostly just synonymous with commercial achievement.)
“Miss Americana” reveals Swift’s persistent seeking for validation that brought out her worst version. “I wish I didn’t feel like there’s a better version of me out there,” she says.
Swift reveals in the film about her eating disorder. “There’s always some standard of beauty that you’re not meeting,” she says. “It’s all just fucking impossible.” She punished herself and conforms with the societal standard of beauty. “There are so many diet blogs that tell you that that’s what you should do,” she says. Sometimes, when she saw an unflattering photo of herself, she says, she simply stopped eating altogether. She is similarly punitive when her album “Reputation” doesn’t earn any Grammy nominations in the major categories. “This is fine,” she tells her publicist. “I just need to make a better record.” Later, on the set of the music video for “ME!,” the first single from “Lover,” Swift and the video’s director, Dave Meyers, play a take from the shoot. “I have a really slappable face,” Swift observes. (Meyers, for his part, looks deeply uncomfortable with the remark.)
“Miss Americana” is the gateway for the Swifties to excavate the real persona f Taylor behind the massive stadiums, deafening cheers when she performs and cameras that chases her everywhere. But the plot of the movie spiced up when she decided to speak out against Marsha Blackburn, the Tennessee Republican who ran for Senate during the 2018 midterm elections. Swift’s interest in politics feels earnest and impassioned, even as she receives absurd pushback from her management team, a pair of slumped older gentlemen, and her father. “Does Bob Hope do it? Does Bing Crosby do it?” he asks, of endorsing political candidates.
Before, Swift was never been vocal when it comes politics. On the movie, Wilson intercuts footage of the Dixie Chicks being villainized for speaking out against the Iraq War, in 2003. Besides, Swift is had transitioned from country to pop that made her more bold to utter political statements without career-ending backlash from bashers. Moreover, Swift encouraged her followers on Instagram to register to vote, and wrote that Blackburn’s “record in Congress appalls and terrifies me.” Blackburn still won, and Swift’s was disappointed. When a reporter asked the President about Swift’s political remarks, he at first seemed unaware of what she’d said, then quipped, “I like Taylor’s music about twenty-five-per-cent less now.”
On “The Man,” a song from “Lover,” Swift deeply questions herself how much simpler her life might be if she’d born male. Still, you will be able to enjoy how she crafts her masterpiece and to behold the joy that is plastered on her face as she finds through a verse or melody for her songs. Each time she completes a song, she is delighted with her craft and hardwork. Swift has never allowed outside cameras in the studio with her before, and her choice to let Wilson film her as she works feels like the right way to reveal something true about who she is and what she does in real life. When the film is almost at its ending, Swift changed the game when she no longer finds or seeks for validation of anybody. The film concludes by clips of her acceptance speech, concerts and her live performances at MTV Awards with her single “The Archer” . It was