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She has a campy kiss-off register for tart bon mots Lights, camera, bitch, smile / Even when you wanna die, she chirps on the fake-bubbly I Can Do It With a Broken Heart. But on the dream-pop opus Mirrorball, its all earnest reflection from the top of the mountain: I can change everything about me to fit in. Swifts latest run of dominance, the stretch that has given her two more Grammys for album of the year (and four in total, a record), began with that surprise pandemic one-two flutter of Folklore and its sister album Evermore. Simultaneously, Swift was painstakingly recreating four of her earlier albums to own them outright
The core dynamic remained the same
No-one is bad, though, although some performers are simply given less to do, some hardly more than cameos, such as Elaine Stritch who is perfection embodied, but only in one scene.* Meanwhile, Turturro's direction reveals him to be more of an "ideas man" than a filmmaker - the film's look is authentically gritty but not terribly unique, although Tom Stern, Clint Eastwood's current cinematographer, composes and lights a fine frame
gonna have new content up soon about tarot cards and reading soon, so stay tuned to that
Bert Mallinson, Betty Mallinson and Camelia are played out as subtle variations of innocence and experience
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