Taylor Swift paralyzed time with the live television debut of her expanded version of “All Too Well” on Saturday Night Live this week. Released on Nov. 12, the 10-minute track comes from Red (Taylor’s Version), her second re-recorded album from her catalog. Instead of performing two songs as musical guests typically do on SNL, Swift played just the one song from her latest LP during her fifth stint on the show.
The backdrop of Swift’s heartwrenching live performance of “All Too Well” was its corresponding short film which the singer wrote, directed and starred in and features Sadie Sink and Dylan O’Brien. As she belted out the end of the cult-favorite power ballad, fake snow cascaded down Swift’s shoulders mirroring the visual behind her.
Featured in the 13-minute short film are homages to the symbolism embedded in the song’s verses: the infamous scarf, which was rumored to be left in a drawer at Maggie Gyllenhaal’s home, and a dance between Sink and O’Brien in the kitchen’s refrigerator light. The short film was also filled with Easter eggs like the color of Sink’s hair, a red typewriter and even a 13-year flash-forward from Sink and O’Brien’s breakup.
Initially released in 2012, Red was re-recorded after the original masters were sold by Swift’s label Big Machine to Scooter Braun’s Ithaca Holdings. Red (Taylor’s Version) features a 30-song tracklist with songs “From the Vault” — ones that didn’t originally make the album — and collaborations with Chris Stapleton, Phoebe Bridgers and Ed Sheeran. Swift shared her first re-recorded classic Fearless (Taylor’s Version) in April which skyrocketed on the charts.
VIDEOS
Kanye West has been lauded as a creative genius for often going against the grain and finding ways to make fans relate to his music and visuals, even if it is done through unconventional methods. His new music video for “530” accurately displays that ability, depicting common human experiences via puppets and people wearing masks.
The 47-year-old artist shared the lengthy visual via Instagram, supporting the record which appeared on his August 2024 collaborative LP with Ty Dolla $ign titled Vultures 2. Initially, “530” made headlines for the Chicago producer taking shots at his ex-wife Kim Kardashian and name-dropping Drake. However, the video took things in a different direction.
Puppets are used in the visual to represent women getting lip injections, looking at themselves in the mirror, styling their hair, or running errands. Male puppets also appeared in the video, seemingly carrying on with their everyday activities without paying too much attention to the women around them unless they have been enhanced by surgery. There is also a noticeable difference between some visually frightening puppets wearing masks and others who are much better put together. Watch the “530” video below.
“You a fake bi**h, you don’t really love Ye bi**h, go listen to Drake bi**h,” Kanye West rapped on the record. As for Kim Kardashian, he seemingly reflected on how difficult it was to lose her with the lines “Pray your soulmate got a soul when you meet her/ The crystal ball couldn’t tell me if they’d leave again / Problems too extra large to share it with a medium.” He also addressed how tough it was to co-parent, rapping, “The past year been a strange time/ Visitations on Facetime/ And who gon’ break who’s heart first? Always just breaks mine.”
Ye and Kim K officially got divorced in November 2022 and it was a difficult road afterward, as she soon began dating Pete Davidson. West quickly moved on as well, marrying Bianca Censori in January 2023. As for his on-and-off rivalry with the Toronto superstar, it is safe to believe he may never move on.
When Kendrick Lamar fired the first shot on Future and Metro Boomin’s “Like That,” the 24-time Grammy winner jumped in and revealed that he was on the “Like That” remix. He also spoke with Justin LaBoy and revealed that he enthusiastically linked up with Lamar, Future, Boomin, Rick Ross, The Weeknd, and A$AP Rocky to aid in the “elimination of Drake.” Listen to the “Like That” remix below.
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