Taylor Swift Announces New Album, ‘The Tortured Poets Department,’ and Song Titles 

US singer-songwriter Taylor Swift arrives for the 66th Annual Grammy Awards at the Crypto.com Arena in Los Angeles on February 4, 2024. (AFP)
US singer-songwriter Taylor Swift arrives for the 66th Annual Grammy Awards at the Crypto.com Arena in Los Angeles on February 4, 2024. (AFP)
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Taylor Swift Announces New Album, ‘The Tortured Poets Department,’ and Song Titles 

US singer-songwriter Taylor Swift arrives for the 66th Annual Grammy Awards at the Crypto.com Arena in Los Angeles on February 4, 2024. (AFP)
US singer-songwriter Taylor Swift arrives for the 66th Annual Grammy Awards at the Crypto.com Arena in Los Angeles on February 4, 2024. (AFP)

Forget her “Reputation.” Taylor Swift has a whole new album coming out.

Accepting the Grammy for best pop vocal album on Sunday night, Taylor said she’d been keeping a secret for two years.

“My brand-new album comes out April 19. It’s called ‘The Tortured Poets Department.’ I’m going to go and post the cover right now backstage,” she announced.

And so she did.

On her Instagram, Swift posted a black-and-white image of her reclining across pillows. The top half of her face and lower half of her legs are cut off in the low-contrast image.

“All’s fair in love and poetry...” her caption read. In a little over an hour, the Instagram post alone had amassed nearly 7 million likes — a figure that swelled to an apt 13 million in under a day.

“And so I enter into evidence / My tarnished coat of arms / My muses, acquired like bruises / My talismans and charms / The tick, tick, tick of love bombs / My veins of pitch black ink,” read what appeared to be handwritten lyrics posted after the album cover.

Inside Los Angeles' Crypto.com Arena, Swift's album announcement elicited screams from the upper levels.

Swift had provoked mass speculation earlier in the night when her site seemed to go down. Some theorized she was gearing up to release “Reputation (Taylor’s Version),” but cryptic clues on the “crashed” site indicated that might be a misdirect.

And so it was.

The site’s back up now, focused around the upcoming album, with preordering and merchandise options. The album will feature 16 tracks, with some editions offering a bonus track, “The Manuscript,” according to product descriptions. On Monday night, Swift released a track listing on social media.

Collaborations include “Fortnight,” featuring Post Malone, and “Florida!!!” featuring Florence + the Machine. A selection of other song titles: “Down Bad,” “I Can Fix Him (No Really I Can),” “loml” and “Clara Bow.”

This will be Swift's 11th studio album, not counting her re-recordings. Her last original album was “Midnights,” released in October 2022. Since then, she's launched the billion-dollar Eras Tour and released “Speak Now (Taylor's Version)” and “1989 (Taylor's Version).”

Swift was accepting the Grammy for “Midnights” when she made the surprise announcement. She later picked up album of the year, the show's final award, for the album.

“I would love to tell you this is the best moment of my life, but I feel this happy when I finish a song, or when I crack the code to a bridge that I love, or when I’m shortlisting a music video, or when I’m working with my dancers,” she said after accepting her album of the year award from Celine Dion. With it, she broke the record for the most wins in that category (her other albums of the year: “Fearless,” “1989” and “Folklore”).

As she walked the red carpet in custom Schiaparelli Couture, she paid homage to her album title, donning a Lorraine Schwartz choker with a small clock embedded. And yes, the time was set to the midnight — even if the viewer had to tilt their head to see the hands pointing to “12.”

While a nod to the album — and reminiscent of the “tick, tick, tick” in “The Tortured Poets Department” post — the watch seemed particularly apt, given the superstar's seemingly packed schedule over the next week.

Swift is set to head back out on her Eras Tour this week, performing for four nights in Tokyo. She still will be able to make it back to the US later in the week to catch her boyfriend Travis Kelce playing in the Super Bowl.



Movie Review: In ‘Deadpool & Wolverine,’ the Superhero Movie Finally Accepts Itself for What It Is 

Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)
Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)
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Movie Review: In ‘Deadpool & Wolverine,’ the Superhero Movie Finally Accepts Itself for What It Is 

Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)
Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)

If one thing is certain about “Deadpool,” it’s that its titular hero, for reasons never explained, understands his place in the world — well, in our world.

Indeed, the irreverent and raunchy mutant is sure to belabor his awareness of the context in which he lives — namely an over-saturated, increasingly labyrinthine multibillion-dollar Marvel multiverse which spans decades, studios and too many films for most viewers to count.

From its inception, the “Deadpool” franchise has prided itself on a subversive, self-aware anti-superhero superhero movie, making fun of everything from comic books to Hollywood to its biggest champion, co-writer and star, Ryan Reynolds.

It’s no surprise then, as fans have come to expect, that the long-anticipated “Deadpool & Wolverine” further embraces its fourth wall-breaking self-awareness — even as it looks increasingly and more earnestly like the superhero movie blueprint it loves to exploit. That tension — the fact that “Deadpool” has called out comic book movie tropes despite being, in fact, a comic book movie — is somehow remedied in “Deadpool & Wolverine,” which leans into its genre more than the franchise’s first two movies.

Perhaps this gives viewers more clarity on its intended audience. After all, someone who hates superhero films — I’m looking at you, Scorsese — isn’t going to be won over because of a few self-deprecating jokes about lazy writing, budgets for A-list cameos and the overused “superhero landing” Reynolds’ Deadpool regularly refers to.

But this time around, director Shawn Levy — his first Marvel movie — seems to have found a sweet spot. Levy is surely helped by the fact that the third film in the franchise has a bigger budget, more hype and, of course, a brooding Hugh Jackman as Wolverine.

That anticipation makes their relationship, packed with hatred and fandom, all the more enticing. Their fight scenes against each other are just as compelling as their moments of self-sacrificial partnership in the spirit of, you guessed it, saving the world(s).

Speaking of worlds, there is one important development in our own to be aware of ahead of time. The first two “Deadpool” films were distributed by 20th Century Fox, whose $71.3 billion acquisition by the Walt Disney Co. in 2019 opened the door for the franchise to join the Marvel Cinematic Universe.

Perhaps unsurprisingly, “Deadpool & Wolverine” takes full advantage of that vast playground, which began in 2008 with Robert Downey Jr.’s “Iron Man” and now includes more than 30 films and a host of television shows. The acquisition is also a recurring target of Deadpool’s sarcasm throughout the movie.

Although steeped in references and cameos that can feel a bit like inside baseball for the less devoted, “Deadpool & Wolverine” is easy enough to follow for the casual Marvel viewer, though it wouldn’t hurt to have seen the first “Deadpool” and Jackman’s 2017 “Logan,” a harbinger of the increasing appetite for R-rated superhero violence. The Disney+ series “Loki” also gives helpful context, though is by no means a must watch, on the Time Variance Authority, which polices multiverse timelines to avoid “incursions,” or the catastrophic colliding of universes.

A defining feature of “Deadpool” has been its R rating and hyper violent action scenes. Whether thanks to more money, Levy’s direction or some combination of the two, these scenes are much more visually appealing.

But “Deadpool & Wolverine” does succumb to some of the deus ex machina writing that so often plagues superhero movies. Wade Wilson’s (the real identity of Deadpool) relationship with his ex (?) Vanessa is particularly underdeveloped — though it’s possible that ambiguity is a metaphor for Deadpool’s future within the MCU.

The plot feels aimless at points toward the end. One cameo-saturated battle scene in particular is resolved in a way that leaves its audience wanting after spending quite a bit of time building tension around it. While there are a few impressive stars who make an appearance, audiences may be disappointed by the amount of MCU characters referenced who don’t make it in.

The bloody but comedic final fight scene, however, is enough to perk viewers back up for the last act, solidifying the film’s identity as a fun, generally well-made summer movie.

The sole MCU release of 2024, “Deadpool & Wolverine” proves it’s not necessarily the source material that’s causing so-called superhero fatigue. It also suggests, in light of Marvel’s move to scale back production following a pandemic and historic Hollywood strikes, that increased attention given to making a movie will ultimately help the final product.