reacting to your MOST INSANE unpopular taylor swift opinions 😲*SHOCKING*

In his latest video, Zach, a pop culture analyst and self-proclaimed "theologist," dives into fan-submitted unpopular opinions about Taylor Swift, challenging the notion that Matty Healey and Taylor Swift were a good match, defending the success of Swift's song "You're Losing Me," and critiquing the double standards applied to Swift's billionaire status. He dissects Swift's approach to privacy and public relationships, particularly with Travis Kelce, and rebuts claims that Joe Alwyn's career was ruined by Swift. Zach also reimagines the tracklist for Swift's album "Lover," argues for the inclusion of different songs in the "Speak Now" set of Swift's Eras Tour, and disputes the idea that the "3 A.M. tracks" outshine "Midnights." He expresses dissatisfaction with Jack Antonoff's production on "All Too Well (10 Minute Version)" and suggests Swift needs to push artistic boundaries beyond her work with Antonoff. Finally, Zach addresses fan theories and critiques surrounding Swift's public image, songwriting, and the underdog narrative, advocating for a nuanced understanding of her impact on pop culture.

• Zach introduces himself as theologist, a creator of weekly pop culture videos.
• He announces his upcoming Grammy month focus, discussing albums he believes should win Album of the Year.
• Zach encourages viewers to subscribe to his channel, noting many viewers are not subscribed.
• He sets the stage for discussing unpopular opinions about Taylor Swift.

"Welcome to my Channel or welcome back to my channel my name is Zach I am theologist. and I make thoughtful weekly videos about pop culture this is my last Taylor Swift video of the year and the next video you will be seeing from me is not anything to do with Taylor Swift at all January is going to be Grammy month on theologist Channel."

Zach is introducing himself and his channel, explaining the type of content he produces and what to expect in the future.

• Zach vehemently disagrees with the opinion that Matty Healey and Taylor Swift were a great couple.
• He criticizes Matty Healey's behavior and suggests he and Taylor Swift are incompatible.
• Zach expresses relief that Taylor Swift moved on from Healey.

"Matty Healey and Taylor Swift were a great couple a great couple if we were in upside down World a great couple if this was opposite day I don't understand how I mean putting aside how stupid MD Healey is and all the annoying dumb things he's done since he dated tlor Swift."

Zach is expressing his strong disagreement with the opinion that Matty Healey and Taylor Swift made a good couple, highlighting Healey's behavior as a significant reason for their incompatibility.

• Zach disagrees with the opinion that "Your Losing Me" did not deserve success on streaming platforms.
• He praises the song as one of the best on the album "Midnights" for its honesty and directness.
• He argues that the song adds depth to the album and to the fans' understanding of Taylor Swift.

"Your losing me is one of the best songs on midnights. yes it is. yes it is it is one of the best songs on midnights it is one of the most honest and direct songs on midnights."

Zach defends the song "Your Losing Me," emphasizing its quality and significance within the album "Midnights" and its contribution to Taylor Swift's musical narrative.

• Zach discusses the criticism Taylor Swift receives for being a billionaire, comparing it to the lack of criticism towards Jay-Z and Rihanna.
• He references cultural commentator Kimberly Nicole Foster's views on billionaires and their inability to save the planet.
• Zach highlights the victim complex he perceives in Taylor Swift's fanbase, suggesting they defend her billionaire status unnecessarily.

"I watched Kimberly Nicole Foster who was an incredible cultural commentator on YouTube I am so inspired by all of her work she has been talking about how you know billionaires aren't going to save the planet."

Zach cites Kimberly Nicole Foster's critique of billionaires, using it to question why some fans defend Taylor Swift's billionaire status.

• Zach comments on Taylor Swift's public relationship with Travis Kelce, noting it could be risky.
• He observes Swift's past relationship patterns and believes they may continue.
• Zach speculates on Swift's current approach to privacy and publicity, suggesting she may be compensating for past experiences.

"I don't like how public she is with Travis speaking about it in Time magazine for example I think this could blow up on her."

Zach expresses concern over Taylor Swift's public discussion of her relationship with Travis Kelce, indicating it might have negative consequences.

• Zach responds to the opinion that Joe Alwyn's career was ruined by Taylor Swift and that she disposed of him at the peak of her fame.
• He dismisses the notion that Alwyn had a significant career to be ruined.
• Zach defends Taylor Swift's fame and suggests Alwyn did not leverage his relationship with her for career gains.

"Joe alen's career was ruined by Taylor Swift and he was disposed of as soon as she was at the top of her game why do you guys keep making me do. heom turkey slander."

Zach refutes the claim that Joe Alwyn's career suffered because of Taylor Swift, questioning the premise of Alwyn's career success to begin with.

• Zach disagrees with the opinion that "Midnights" feels more real than other Taylor Swift albums.
• He criticizes "Midnights" for being difficult to understand without extensive knowledge of Taylor Swift's personal history.
• Zach suggests that the album's clarity is only emerging retrospectively.

"Screw Sonic cohesion yes 1989 slapped but speak now red and midnights feel more real I was with you until we got to midnights and then I was like what do you mean that feels more real that album is literally 90% incomprehensible jargon unless you are deeply familiar with the tailor of lore."

Zach challenges the view that "Midnights" is a more authentic album compared to Taylor Swift's other works, arguing that its true meaning is obscured without context.

• Taylor Swift's shift from diaristic albums like "Speak Now" and "Red" to more polished pop records like "1989" was intentional.
• Taylor Swift discusses the need for reinvention to maintain longevity in the music industry, especially for women.
• The shift helped her create iconic albums like "Reputation" and "1989."

"Taylor talks all the time about how she needs to shape shift and change her image up in order to survive in an industry that disposes of women very readily and very quickly."

This quote emphasizes Taylor Swift's strategy of image reinvention as a survival mechanism in a volatile music industry that often discards female artists.

• "ME!" is criticized for not being self-aware and failing to live up to the success of "Shake It Off."
• The song is described as overrated, despite being considered a fun and campy bop by some.

"Me is not self-aware; she really thought she was writing the next shake it off when that occurred."

The quote suggests that Taylor Swift may have misjudged the self-awareness and potential impact of the song "ME!" in comparison to her hit "Shake It Off."

• The album "Lover" is suggested to have a misleading presentation, with discordant themes beneath its surface.
• The track "I Forgot That You Existed" is criticized for not aligning with Taylor Swift's true nature.
• The album could have been improved by reshuffling tracks and altering its aesthetic to reflect a more realistic tone.

"I forgot that you existed is fake; Taylor Swift buries hatchets but keeps maps of where she puts them."

This quote critiques the authenticity of the song "I Forgot That You Existed," suggesting that Swift's portrayal of indifference conflicts with her actual attitude towards adversaries.

• The "Speak Now" set on the Eras Tour is debated for its song selection.
• "Enchanted" and "Long Live" are justified as being emblematic of the "Speak Now" era despite other songs being fan favorites.
• The inclusion of "Mine" in the set is advocated for, but the overall selection is understood.

"I think that those two songs are super representative of the speak now era."

The quote explains the reasoning behind choosing "Enchanted" and "Long Live" for the "Speak Now" set, highlighting their significance to that period of Taylor Swift's career.

• The 3:00 AM tracks from the "Midnights" album are described as mostly unimpressive and not providing additional insight into the album.
• Songs like "You're On Your Own, Kid" and "Would've, Could've, Should've" are exceptions, praised for their quality.

"Even glitch is a b tier Taylor Swift song If I'm really speaking my truth here."

The quote expresses a personal opinion that even the more favored songs from the 3:00 AM tracks are not among Taylor Swift's best work.

• The song selections for the "Red" and "Evermore" sets on the Eras Tour are questioned.
• Suggestions include combining "22," "We Are Never Ever Getting Back Together," and "I Knew You Were Trouble" into a mashup to make room for other songs.
• The "Evermore" set is seen as disappointing, with a call for more upbeat tracks like "Gold Rush" and "Right Where You Left Me."

"I think that the Evermore set especially because it comes so high up at the top of the show it could be improved by having a few more like moments."

This quote critiques the "Evermore" set for its lack of energetic songs, suggesting that the inclusion of more lively tracks could enhance the performance.

• The production of the new version of "All To We" is criticized.
• The speaker implies that Jack Antonoff should not have produced the new version of the song.

"Jack should never have produced the new version of all to we."

The quote directly states the opinion that Jack Antonoff was not the right choice to produce the new version of "All To We," suggesting a mismatch between the producer and the song's intended sound.

• Zach criticizes the production on Taylor Swift's "All Too Well 10" and "Don't You" for deviating from the original essence.
• He believes in preserving the historical integrity of Vault tracks.
• The new production diminishes the impact of significant lyrics.
• Zach prefers the live arrangements from SNL and the Ariz tour over the recorded production.
• He argues that the live versions resonate more with the original "Red" album.

"He really jacked up the production of all to well 10 for me he jacked up... I think that Vault track should not be given a lot of creative contemporary license... the AL to well 10 production also kind of takes the wind out of the sales of many of those really uh important and punctual lines..."

The quote expresses discontent with the altered production of "All Too Well 10," emphasizing the importance of maintaining the original feel of Vault tracks and the impact on the delivery of meaningful lyrics.

• Zach believes "Red" has the best Vault tracks with "absolute incredible inclusions."
• He acknowledges "All Too Well 10" as a standout track that elevates the "Red" album's status.
• The discussion includes the perceived overrating of the "1989" album's Vault tracks.
• The importance of historical context and additional insight into Taylor Swift's personal life during the "1989" era is highlighted.

"I was with you on red has the best of vaults because quality-wise I would say red probably has the most stunners... but saying that the 1989 volts are overrated is kind of silly..."

The quote supports the view that "Red" has exceptional Vault tracks while defending the "1989" Vault tracks against claims of being overrated, citing their contextual relevance and the recentness of their release.

• Zach criticizes Taylor Swift's red carpet fashion for lacking cohesion and personality.
• He observes that her style does not seem to have a distinct theme or reflect her personal sense of style.
• He notes occasional successful looks but generally finds them forgettable.

"Her red carpet looks are 80% flob... it's very much like she's just standing wearing a gown... if you put all of her red carpet looks in a row there isn't a lot of cohesion..."

The quote critiques Taylor Swift's red carpet appearances, suggesting a lack of consistent and memorable style choices that reflect her personality.

• Zach defends the sonic cohesion of the "Reputation" album, noting it has consistent production throughout.
• He challenges the notion that "Reputation" is not cohesive, mentioning that "New Year's Day" is the only outlier as it serves a specific purpose on the album.

"Reputation is sonically cohesive... the only song that is like not really sonically cohesive is New Year's Day..."

The quote asserts the overall sonic cohesion of the "Reputation" album, with "New Year's Day" being an intentional departure to serve as the album's emotional conclusion.

• Zach debates the merit of "Lavender Haze" as the best song on the "Midnights" album.
• He contrasts it with "You're on Your Own, Kid," suggesting personal favorites do not equate to the best tracks.
• The discussion touches on the subjective nature of music preferences within the Taylor Swift fan community.

"Lavender haze is the best song on midnights the abject boredom and haziness of the song is Everything... but to me it's just not all that..."

The quote reflects a personal opinion on "Lavender Haze," acknowledging its unique qualities while arguing that it may not be the best track on "Midnights."

• Zach comments on the underdog narrative often used by Taylor Swift, particularly in her battles with industry figures.
• He finds this narrative increasingly less accurate given her current industry power and influence.
• The negotiation for the cinematic release of the "IRS tour" is cited as evidence of her significant bargaining power.

"The underdog narrative is kind of annoying and outdated at this point... Taylor getting a deal to distribute the IRS tour in a nationwide cinematic release without putting it on streaming what that signaled was in fact that Taylor has exactly the same leveraging and bargaining power if not more than the studios themselves..."

The quote challenges the validity of Taylor Swift's underdog narrative, pointing out her substantial influence and negotiating power in the music industry.

• Zach suggests that while Jack Antonoff has been a successful collaborator, it may be time for Taylor Swift to explore other artistic directions.
• He appreciates the work done by Jack on "Folklore" and "Evermore" and recognizes the need for creative boundary-pushing.
• The discussion revolves around Taylor Swift's willingness to take risks and depart from her comfort zone in future projects.

"Jack needs to go so that she can challenge herself artistically... but I don't think he needs to go I think people misunderstand me sometimes... but at the end of the day like it's not really about Jack it's not really about the collaborator it's about Taylor and her appetite for doing something new..."

The quote expresses the opinion that while Jack Antonoff has contributed positively to Taylor Swift's music, it is ultimately her decision to seek new artistic challenges and collaborations.

• Zach defends the lyricism of the "1989" album against criticism.
• He highlights "Blank Space" as an example of strong songwriting.
• The conversation acknowledges the album's different writing style and its significance in Taylor Swift's career.

"1989 sucks lyrically... 1989 does not suck lyrically it's just a different kind of writing... blank space is one of the best written songs in her career..."

The quote refutes the notion that "1989" is lyrically weak, instead suggesting that it represents a different, yet significant, songwriting approach in Taylor Swift's discography.

• Taylor Swift aims to create music that remains contemporary over time.
• The album "1989" is cited as an example, still sounding fresh years after its release.
• The writing on the album is considered to be reductive by some, but the speaker disagrees, highlighting songs like "Blank Space" and "Out of the Woods" as examples of emotive and effective songwriting.

"How can I make an album that sounds both modern and also new and something that isn't going to date itself in 10 years time because you know 10 years later to me 1989 sounds as fresh as it did the day that it came out."

The quote explains the aspiration to create music that endures the test of time. The speaker uses Taylor Swift's album "1989" as an example of successful achievement of this goal, suggesting it remains relevant and contemporary long after its release.

• The speaker addresses various criticisms and misinterpretations of Taylor Swift's actions and art.
• Some fans believe Taylor practices witchcraft based on her "willow" music video, which the speaker finds absurd.
• The criticism that Taylor Swift doesn't care about her international fans is refuted by pointing out her comprehensive and expensive international tour.
• Accusations that Taylor Swift dates due to insecurity and a need for male approval are dismissed as misogynistic.
• The speaker defends Taylor Swift against the claim that she has "pickme girl energy" and argues that she supports her female friends.

"Okay, she should retract the statement that she's Christian after creating the willow video with witchcraft." "Even she dates because she's insecure and needs male approval when she shouldn't need a man to be good." "She has pickme girl energy which can be annoying."

These quotes reflect specific criticisms addressed by the speaker, who then counters them by explaining the absurdity of the witchcraft accusation, defending Taylor Swift's personal choices in her love life, and refuting the "pickme girl energy" claim by illustrating her supportive relationships with other women.

• The speaker discusses the cultural relevance of studying pop figures like Taylor Swift in academic settings.
• Taylor Swift courses are not merely about learning facts but often explore her work in a broader literary or cultural context.
• The speaker argues that using popular culture figures in education can engage young people and introduce them to deeper ideas and theories.
• The study of the Taylor Swift phenomenon can reveal insights into society's group psychology.

"Taylor Swift courses in college are ridiculous." "Sometimes embracing cringe isn't a good thing."

The first quote shows the speaker addressing the criticism of college courses on Taylor Swift, while the second quote discusses the notion of embracing "cringe" and its limits. The speaker believes that studying Taylor Swift in an academic context can be valuable for understanding cultural and societal dynamics.

• The speaker criticizes the public's obsession with Taylor Swift's personal life milestones, such as marriage and pregnancy.
• The speaker suggests that such fascination might stem from fans projecting their own life stages onto the artist.
• Speculating about Taylor Swift's personal life is considered weird, but the speaker admits to occasionally engaging in speculation based on Taylor's own words or lyrics.

"People who have an obsession with Taylor getting married are as bad as the gayers."

This quote is used to differentiate between fans who are overly interested in Taylor Swift's personal life and conspiracy theorists, with the latter being described as more concerning. The speaker feels that while the fascination with Taylor's personal life can be odd, it is not as harmful as the conspiracy theories spread by some fans.

• The speaker shares opinions on Taylor Swift's songs, comparing "Midnight Rain" to "Cruel Summer."
• "Cruel Summer" is praised as a hit and an energetic song, whereas "Midnight Rain" is described as unfinished and lacking the same impact.

"Midnight rain deserved to be the sleeper head of the year instead of Cruel Summer."

This verbatim quote presents an opinion about Taylor Swift's songs, which the speaker disagrees with by praising "Cruel Summer" and providing a less favorable view of "Midnight Rain." The comparison highlights differing perspectives on the songs' qualities and their respective places within Taylor Swift's discography.

• The speaker announces plans for future video essays on Grammy-related topics, including album of the year contenders and notable snubs.
• The speaker invites fan input on Grammy topics and expresses gratitude for the audience's engagement throughout the year.

"I will be doing four video essays on the artists that I think deserve album of the year the most."

This quote outlines the speaker's intention to create content that delves into the Grammy Awards, focusing on the album of the year category. It indicates a commitment to providing in-depth analysis and fostering discussion with the audience.