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The article is titled “Taylor Swift and the performative ambiguity of The Life of a Showgirl.” It was originally published on November 4, 2025 and is authored by Jessalynn Keller, Associate Professor in Critical Media Studies, University of Calgary; Aimee Koristka, Media Researcher at the University of Calgary, University of Calgary; and Shena Kaul, PhD Candidate in Communication and Media Studies, University of Calgary.

On Oct. 3, pop superstar and cultural icon Taylor Swift released her 12th studio album, The Life of a Showgirl, to much public anticipation. But when the reviews came in, they were mixed.
While Rolling Stone feted the album as featuring “new, exciting sonic turns,” The Guardian slammed it as “dull razzle-dazzle from a star who seems frazzled.”
Likewise, Swifties had varied reactions. While some danced to the catchy chorus of “Opalite,” others criticized the songwriting as lacking the depth and nuance of Swift’s previous albums.
But perhaps what drew the most controversy from fans and critics alike was the politics of the album.
From feminist icon to political enigma
Unlike Swift’s recent recordings, which were punctuated with popular feminist messaging, The Life of a Showgirl seems to rest on conservative ideals, with fantasies of marriage, children and quiet suburban life emerging on several tracks.
As an artist known for leaving hidden messages, or “Easter eggs,” in her songs and encouraging her fans to find and decode them, Swifties jumped on the possible meanings of Swift’s new music: is she endorsing a “trad wife” lifestyle? Was that a racist dog whistle? Isn’t the “showgirl” a feminist figure? Or is it all just satire?
As cultural studies scholars, we are less interested in the musical quality of the album or determining the “true” meaning behind the songs. Instead, we regard The Life of a Showgirl as a cultural barometer that makes visible the social trends and tensions through both the album itself and the meanings fans derive from it.
With ambiguous lyrics and imagery, Swift invites her fan base to find their own meanings in the album. In this sense, The Life of a Showgirl is a perfect album for our time — a masterpiece of performative ambiguity that allows Swift to transcend polarized political discourse and avoid taking a stand in this hostile political moment.
Swift is no stranger to performing political ambiguity as a celebrity figure. While she avoided politics early in her career, Swift eventually began voicing her views, aligning with progressive social movements of the late 2010s, like feminism and queer rights, denouncing white supremacy and anti-choice rhetoric and endorsing Democratic candidates in both the 2020 and 2024 U.S. presidential elections.
Swift became understood as a feminist icon in an era of popular feminism, where mediated feminism is accessible and highly visible in the cultural zeitgeist.
With the release of The Life of a Showgirl, however, Swift positions herself within today’s political context: rising conservatism.
In endorsing Kamala Harris but then attending the U.S. Open with Trump-supporting friends Brittany and Patrick Mahomes, Swift enables some fans to derive traditional, conservative meanings from this album that align with current leadership and others to defend her as the “Miss Americana” idol they once knew.
Ambiguity as a brand
The ambiguous narratives present in The Life of a Showgirl seem purposeful. Imagery of Swift bedazzled in feathers, Portofino-orange rhinestones and “sweat and vanilla perfume,” while giving her best attempt at lobotomy chic, suggests an album that would champion the feminist potential of the independent showgirl.
Instead, The Life of a Showgirl’s release generated a wave of interrogative discourse among listeners, arguing its lyrics seemingly have patriarchal, homophobic and white supremacist connotations, and, more poignantly, seem to contradict Swift herself.
In contrast to her previous objection to the use of the word “bitch” for its “strong misogynistic message,” she now waxes poetic about how “all the headshots on the walls / of the dance hall are of the bitches / who wish I’d hurry up and die” in the titular song.
“Actually Romantic” further highlights the album’s conflicting messaging and “outdated misogyny repackaged for the boss girl era,” not only by placing two women in rivalry with one another, but by suggesting that the only explanation for a woman not liking Swift is that she must be in love with her.
Such criticisms extend so far as to argue that the conservative messaging is so entrenched in the album that it should instead be titled The Life of a Tradwife, while others consider this a hypersensitive, leftist overreaction that misses the point and is “genuinely unfair.”
Yet dismissing these critiques feels irresponsible — especially when some of Swift’s most conservative lyrics are being celebrated by influential people. Alexis Wilkins, ambassador for Turning Point USA and girlfriend of FBI Director Kash Patel, interprets the album as Swift “choosing what matters most — a life of family and stability … choosing a home at the end of a cul-de-sac, a basketball hoop in the driveway, and kids who look like both of them.”
What Swift’s album says about us
In a moment of entrenched conservatism, it is not surprising that fans may read white supremacy, patriarchy and homophobia into The Life of a Showgirl — our cultural context makes all of those readings legible and possible, regardless of Swift’s true intention.
Performative ambiguity gives Swift access to both political sides of her devoted fan base, allowing them to interpret the album according to their own beliefs, concerns and values.
And Swift herself seems content to stoke the fire, stating in a recent interview: “If it’s the first week of my album release and you’re saying either my name or my album title, you’re helping.”
She also reminds her fans that her goal as an entertainer is “to be a mirror.”

The Life of a Showgirl

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