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Taylor Swift Gets Candid About Politics, Privilege, and How the Pop Industry Can Feel Like 'The Hunger Games'


Taylor Swift sat down with the Guardian for her first major U.K. interview in years, and over the course of the conversation, she opened up about pretty much everything fans have wanted to ask her over the last several years. Swift went into detail about her political views and why it took her so long to speak out about them; she explained why she’s been so protective of her relationship with actor Joe Alwyn; and she even shared her thoughts on the pop music industry and how it can feel like The Hunger Games sometimes.

During the interview, Swift focuses a lot on 2016—a rough year for her, during which she had some public feuds with Katy Perry, Nicki Minaj, and Kanye West and Kim Kardashian. She had previously said in interviews that “an artist fails when they lose their self-awareness,” and she’s asked if she feels she’d made the same mistake during her career.

“I definitely think that sometimes you don’t realize how you’re being perceived,” she said. “Pop music can feel like it’s The Hunger Games, and like we’re gladiators. And you can really lose focus of the fact that that’s how it feels because that’s how a lot of stan [fan] Twitter and tabloids and blogs make it seem – the overanalyzing of everything makes it feel really intense.”

From there on, Swift launches into even more details about aspects of her career and her time in public view. The entire piece is full of nuance, and you can read it here. In the meantime, here’s what we learned about Swift:

Why she’s protective of her relationship with Joe Alywn:“I’ve learned that if I do [talk about the relationship], people think it’s up for discussion, and our relationship isn’t up for discussion,” she said. “If you and I were having a glass of wine right now, we’d be talking about it—but it’s just that it goes out into the world. That’s where the boundary is, and that’s where my life has become manageable. I really want to keep it feeling manageable.”

How she overcome one of her toughest years:“You can either stand there and let the wave crash into you, and you can try as hard as you can to fight something that’s more powerful and bigger than you… Or you can dive under the water, hold your breath, wait for it to pass and while you’re down there, try to learn something. Why was I in that part of the ocean? There were clearly signs that said: Rip tide! Undertow! Don’t swim! There are no lifeguards!”

“Why was I there? Why was I trusting people I trusted?” she said. “Why was I letting people into my life the way I was letting them in? What was I doing that caused this?”

What she’s learned about her own privilege:Swift said that she’s come to understand “a lot about how my privilege allowed me to not have to learn about white privilege. I didn’t know about it as a kid, and that is privilege itself, you know? And that’s something that I’m still trying to educate myself on every day. How can I see where people are coming from, and understand the pain that comes with the history of our world?”

Why she sued radio DJ David Mueller, who touched her ass at a meet-and–greet event.“Having dealt with a few of them, narcissists basically subscribe to a belief system that they should be able to do and say whatever the hell they want, whenever the hell they want to,” she said. “And if we—as anyone else in the world, but specifically women—react to that, well, we’re not allowed to. We’re not allowed to have a reaction to their actions.”



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'What Happened to Monday?' Is a Terrifying Mix of 'The Hunger Games' and 'Divergent'


PHOTO: ©Netflix/Courtesy Everett Collection / Everett Collection

Warning: Major film spoilers ahead.

Noomi Rapace plays seven characters in Netflix’s new film, What Happened to Monday, but that’s not even the wildest part about this project. Nope, that honor goes to the Child Allocation Bureau, a government branch responsible for making sure families have onlyone child in their households. The goal of this entity is to “fix” the world’s overpopulation issue, which has reached critical mass in 2073, the year this film takes place. And what happens to the excess siblings, you ask? They’re killed—but the families don’t know that.

This is a dystopian movie, if you couldn’t tell, and it’s a good one. It’s also a movie about survival and determination and sisterhood—seven sisters, specifically. All played by Rapace.

If you’re scratching your head, here’s some background info: A genetic mutation causes a woman to give birth to seven children, which is bad because of the Child Allocation Bureau I mentioned earlier. If the government finds out about her children, six of them will be taken away. So after she dies in the hospital, her father (Willem Dafoe) takes the kids into hiding. He names each child after a day of the week—and when they get older he lets them go out once a week. Monday can leave the house Monday, Tuesday on Tuesday—you get the idea.

But here’s the catch: When the sisters are outside, they have to fool the world into thinking they’re one person named Karen Settman. They have to wear a wig and walk the same and talk the same. If they don’t, the government might realize more than one person is living in their house—and I already told you what happens in that case.

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PHOTO: ©Netflix/Courtesy Everett Collection / Everett Collection

At the head of this totalitarian regime is Nicolette Cayman, played brilliantly (and terrifyingly) by Glenn Close. When she gets wind of the seven siblings, a manhunt ensues for all of them but one. Those are the rules, after all.

You can probably guess what happens next: lots of fighting, blood, and yes, death. (Sorry, but not all the sisters make it to the end of the film.) These scenes are exciting and adrenaline-pumping, sure, but they’re something even more important: empowering—especially for women. The seven sisters outsmart their techno-savvy government by working together—using their strengths to stay one step ahead of the violent dudes hot on their tails.

In one particularly chilling scene, three men with scary guns lure five of the sisters out of hiding. The dudes laugh at the sisters and make some disparaging comments about them. Right as you think it’s all over, though, one of the physically astute sisters takes a shot at the head lunkhead, and a full-out brawl begins, ending in the death of all the men hired to kill them. Granted, this isn’t a fully victorious moment—one of the sisters, unfortunately, also dies—but it establishes the tone of the film. On some level, this movie shows what good can happen when women join forces.

It also shows what happens when they’re adversaries. This entire blood bath began in the first place because one of the sisters—I won’t tell you which—made a seedy deal with the government. She quite literally betrayed her sisters, and the result was carnage. Lots of it. The message isn’t exactly subtle—but it’s powerful.

And the film’s references to The Hunger Games, Divergent, and Orphan Black aren’t subtle either. Nicolette Cayman is eerily similar to Jeanine Matthews, the dictator who had a bone to pick with Tris in Divergent; the sisters’ fighting style has distinct Katniss Everdeen shades; and, as I mentioned earlier, Rapace takes on seven. different. roles. That’s Tatiana Maslany AF.

What Happened to Monday still has its own identity, though. For one, it’s scary. Like, genuinely scary. (The Hunger Games and Divergent are great, but they won’t keep you up at night.) But it’s that theme of sisterhood that really sets Monday apart from its peers. Katniss and Tris are great female protagonists, but they’re the only ones in their respective stories. Their narratives are inextricably linked to the male characters. In What Happened to Monday, the males take a backseat to the badassery of Karen Settman. Times seven. Whoever said there’s power in numbers was absolutely right.

What Happened to Monday is streaming on Netflix right now. Go watch!



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