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The Glass Closet: Taylor Swift, Chely Wright, Speculation, and the Industry That Keeps Artists in the Dark

For nearly two decades, Taylor Swift has orchestrated the art of reinvention—from a fresh-faced country prodigy to a global pop powerhouse, from America’s golden girl to a self-proclaimed anti-hero. Each era has been a transformation, each reinvention a shield. Yet, beneath the carefully curated personas, the shifting aesthetics, and the highly publicized relationships, one unspoken question lingers: Who is Taylor Swift, really?

The theory that Swift is queer and closeted—the heart of the “Gaylor” conversation—isn’t about unfounded gossip. It’s about the systems that shape an artist’s image, the forces that dictate what is and isn’t acceptable, and the very real cost of authenticity in an industry that thrives on marketability over truth.

To understand this, we have to look beyond Swift herself. We have to examine country music’s history of closeting artists like the fallout that followed Chely Wright’s coming out and the impossible balancing act Swift has performed for years.

This is a story about control, coded storytelling, and the glass closet Taylor Swift has spent her career trying to break free from—without ever shattering it completely. It's a story of paving the path for a brighter, louder, more colorful future because one thing is for sure...

SHADE NEVER MADE ANYBODY LESS GAY!

The Early Aughts + Country Music Stardom: A Foundation Built on Silence

Country music has long been one of the most traditionally conservative genres in the music industry. With a core audience rooted in Middle America values, the genre has historically upheld white, heterosexual, Christian narratives as the foundation of its storytelling.

Even in 2025, there are only a handful of openly queer country artists, and most of them struggle to receive mainstream recognition. Artists like Brandi Carlile, T.J. Osborne (Brothers Osborne), and Brandy Clark have helped pave the way, but country radio still hesitates to fully embrace LGBTQIA+ voices.

In this world, being an openly queer artist isn’t just risky—it’s career-ending.

And no one embodies that reality more than Chely Wright.

Chely Wright: A Warning from the Closet

In 2010, Chely Wright became the first mainstream country artist to come out as lesbian and it destroyed her career.

Wright was a hitmaker, with #1 songs and major industry recognition. She had everything an artist could want—until she told the truth.

Country radio blacklisted her.

Venues stopped booking her.

Her album sales tanked.

The industry that once celebrated her pretended she never existed.

Her story became a cautionary tale—a stark warning that country music does not embrace queer artists. It erases them.

By 2010, Taylor Swift was already a superstar. If she was questioning her sexuality—or even fully aware of it—she had already been placed in a carefully controlled box.

Unlike Wright, Swift’s departure from country music wasn’t an exile—it was an escape. But that escape wasn’t just about genre. It was about control. It was about building a world where she could reinvent herself while keeping parts of her identity just out of reach.

A Different Perspective: Chely Wright’s Discomfort with Speculation

When The New York Times published an essay on the Gaylor theory, I was surprised to find that Chely Wright herself expressed discomfort with the way Taylor Swift’s sexuality is discussed in public. Wright called the piece “awful” and “triggering”, criticizing the newspaper for engaging in speculation. Given that Chely’s story has long been a major point of discussion in the Gaylor community, her response was jarring. At first, it made me question whether using her experience as a lens for understanding Taylor’s career was appropriate.

But upon deeper reflection, her reaction makes sense. Chely Wright’s coming-out experience was deeply traumatic—she spent years hiding, lying, and carefully constructing a false image to survive in country music. And when she finally told the truth, her career collapsed overnight. For Wright, the mere act of publicly discussing another artist’s sexuality—whether as support or analysis—might feel like the same kind of external pressure she once faced.

However, there is an important distinction: The Gaylor conversation is not about forcing a label onto Taylor Swift. It’s about analyzing the subtext Swift has deliberately embedded in her work. If Taylor wasn’t queercoding her music, this conversation wouldn’t exist in the first place.

It’s also crucial to recognize that the industry forces that once silenced Wright are the same forces that shaped Swift’s career. While Wright may reject this discussion entirely, that doesn’t change the reality that Taylor’s work is filled with coded storytelling—suggesting she is navigating the same strict boundaries but in a different way.

Wright’s response to the op-ed highlights a larger cultural question: Why does queerness still have to be treated as a secret, while speculation about straight relationships is encouraged?

Why Is Speculating About Queerness Seen as Different?

One of the biggest criticisms of the Gaylor theory is that it’s “invasive” to speculate about Taylor Swift’s sexuality. But where is the line between analyzing queer themes in her work and being inappropriate? Why do Swifties who push back against this theory have no problem speculating about her relationships with men?

This is where the double standard comes into play.

Taylor Swift fans have spent years digging into her personal life—analyzing lyrics, finding Easter eggs, and debating which songs are about which boyfriend. Entire media cycles have been built on this:

Is "All Too Well" about Jake Gyllenhaal?

Is she secretly engaged? Was she secretly married?

Was "You Belong With Me" about Joe Jonas?

These questions are not only accepted— they're expected.

But when Gaylors apply the same level of analysis through a queer lens, suddenly, it’s labeled “invasive” and “harmful.” The message is clear: It’s only okay to speculate if the answer is straight.

To me, this is an outdated view to force straightness onto someone while also claiming that sexuality is a spectrum. Given Taylor’s layered storytelling, it feels necessary to allow her to exist on that spectrum—where maybe some of her stories are not what they seem.

As we know, Taylor Swift spent the early years of her career operating under the rigid gender norms of country music, a world where women were expected to sing about heterosexual romance, faith, family, and small-town nostalgia. But as her success grew, so did her desire for creative control—and possibly, her need to carve out a space where she could express herself more authentically, even if only in coded ways.

Her transition to pop wasn’t just about breaking genre boundaries—it was about escaping Nashville’s conservative grip and stepping into a world where reinvention, subtext, and ambiguity could thrive. And she made that clear from the very first song on 1989.

“Welcome to New York”: Taylor’s Break from Nashville & Living In Screaming Color

"You can want who you want / Boys and boys and girls and girls."

This wasn’t just a throwaway lyric. It was the loudest queer-coded statement she had ever made—and it opened the album that marked her escape from country music’s restrictions.

This is also the era that she gave us New Romantics and Out of the Woods with lyrics like, "The rest of the world was black and white but we were in screaming color."

Many Gaylors believe that Red (2012) was already a queer-coded album, with songs about a secret relationship—possibly with Dianna Agron—hidden behind PR relationships with men. But in 2014, she took it a step further:

She stopped centering men in her music.

She built a “girl squad” narrative that celebrated female friendships—but felt, at times, like something more.

She became more private—hiding her personal life while crafting an ultra-public, ultra-marketable persona.

If Red was about testing boundaries, 1989 was about reinvention as a shield. From this moment forward, Taylor would never again present her personal life without layers of control.

Reinvention as Survival: The Dual Taylors

Swift has reinvented herself with every era, but this reinvention isn’t just about artistic evolution—it’s been a survival mechanism.

She constantly presents two versions of herself—the one the public sees, and the one hidden beneath the surface.

This is the essence of the glass closet—where an artist can leave clues, drop hints, and tell the truth without ever being forced to say it outright.

Why Taylor Swift’s Closet Is Different

Unlike Chely Wright, Swift never had to lose her career over her sexuality—but that’s because she never let it become the story in the first place. The longer she hints, codes, and subtextually confesses, the veil gets thinner.

When she says “ME! out now” on Lesbian Visibility Day, people still think it’s a coincidence. When she plays "Maroon" on Karlie's birthday, it doesn't mean anything. Somehow, even when a song with such an obvious rhyme scheme as "The Very First Night" all but hits you over the head alluding to a female pronoun in a love song, Swifties turn the other cheek and deny the obvious.

She has spent 20 years writing about love—but to the general public, that love has only been for men. For those who see through the lines, she has been communicating her real experience the entire time.

Swift’s public relationships always seem to appear when speculation about her queerness reaches a peak. The Summer of Lover 2019? Joe Alwyn’s presence is reinforced. The Midnights era? Enter Matty Healy, a quick PR cycle that fizzled just as fast as it began. And now, in 2024, with The Tortured Poets Department drenched in queer themes? Travis Kelce is front and center. Whether these relationships are real, exaggerated, or entirely contractual, they always serve a purpose—to keep the glass closet from completely shattering.

The Power of Subtext in the Mainstream

In many ways, Taylor has done something radical—she’s embedded queerness into mainstream pop culture in a way that allows it to exist without being outright rejected.

Before her, queerness in the industry was often either completely hidden or presented in a hypersexualized, rebellious way that still played into the male gaze (see: Madonna and Britney’s VMAs kiss, Katy Perry’s “I Kissed a Girl”).

Taylor’s approach is different. Her queerness isn’t a spectacle—it’s woven into love songs, metaphors, and heartbreak anthems, allowing it to be as deeply felt and widely consumed as straight narratives.

For younger artists, this has cracked open the door.

Queer Artists Who Have Benefited from the Shift

Artists who emerged in the post-Taylor pop landscape now have far more room to exist as their authentic selves. Many don’t have to code their queerness the way Taylor does, and that’s partially because her queer-coding forced the industry to acknowledge that queer narratives could be commercially successful.

Examples of artists who have benefited from this shift include:

Kelsea Ballerini – A country-pop artist and close friend of Taylor Swift, Kelsea has been a vocal LGBTQIA+ ally, advocating for inclusivity in a traditionally conservative genre. While not publicly queer, her embrace of queer narratives and shift toward pop mirrors Swift’s own path, signaling a slow but growing evolution in country music.

Girl in Red – Explicitly queer in both image and lyricism, yet embraced by the same industry that would have never allowed Taylor to be this open in 2006.

MUNA – An openly queer pop band that has been able to build mainstream success without needing to obscure their identities.

Billie Eilish – After coming out as queer in 2023, Billie has embraced her identity without industry pushback, reflecting the shifting landscape Taylor helped shape. Her openness marks a new era where pop stars no longer need to rely on subtext or plausible deniability to exist authentically.

Chappell Roan – The most recent example of a queer artist who is making waves in the pop scene—heavily inspired by the theatrical elements of Taylor Swift’s songwriting and world-building.

Would any of these artists have been able to flourish in the mainstream ten years ago? Unlikely. Taylor’s massive, industry-defining career—and the queer interpretations of her work that have never been shut down entirely—helped normalize the idea that queerness doesn’t have to be a commercial risk.

The Unfinished Revolution: Taylor’s Influence on the Future of Queer Storytelling

Taylor Swift’s position in pop culture is unique—she is arguably the most famous person in the world, yet her true identity remains one of the most debated subjects in modern music.

This paradox—existing in a glass closet while simultaneously paving the way for others to live openly—is what makes her influence so undeniable.

Taylor Swift may never fully break out of the closet herself—but she has already blown the door open for others to walk through.

She has spent two decades bending the rules of the industry, proving that queer-coded storytelling is not just marketable but deeply resonant. The next generation of artists doesn’t have to bend the way she did—they can step into the spotlight and tell their stories without hiding behind mirrors and metaphors.

Taylor may be trapped in the glass closet, but the industry she reshaped will never be able to shut the door again.

LONG LIVE THE WALLS WE CRASHED THROUGH!

👻

The Ghost of Taylor Swift

I have had this theory rattling in my head for awhile. Basically I can see Taylor singing from the perspective of a ghost that can’t crossover to the afterlife wandering the halls of her former life waiting to be laid to rest and move on.

The story began in reputation when she died (“the old taylor can’t come to the phone right now cuz she’s dead”).

Then her cover art from Lover

And this is where it gets tricky. I believe Lover comes AFTER folklore and evermore. The album cover art for Lover looks like taylor is in the clouds of heaven looking down. Like she died on reputation now she’s in heaven.

However, I believe the pandemic “wrecked her plans” for Lover so she wrote two albums that tell the story of a ghost trapped between worlds in purgatory if you will. And the album cover art for folklore drives this point home.

She is looking up almost like she is trying to figure out how to get up there.

For the time being im just going to go through the story as I see it on folklore and maybe return to evermore at future time.

We get Peter Pan themes in cardigan and seven. Peter Pan is essentially a story of death and the afterlife.

“Peter losing Wendy”

“And I've been meaning to tell you/ I think your house is haunted/ Your dad is always mad and that must be why/ And I think you should come live with/ Me and we can be pirates”

Then we have the history lesson with LGAD and learn that she bought the property. She told the story of Rebekah in the past tense and when she talks about herself she says “I had a marvelous time” she remains in the past tense.

Then comes exile. I think Bon Iver’s part is a ghost watching Taylor with someone else. And the ghost is trapped in this world where it is forced to watch her like it’s torture reliving this day.

“I think I've seen this film before/ And I didn't like the ending/ You're not my homeland anymore...Now I'm in exile seein' you out”

Then the most explicit, the funeral/wake song, my tears ricochet. The whole song feels like Taylor is a ghost at her own funeral walking around watching all the people mourn the life she left behind.

“And I can go anywhere I want/ Anywhere I want, just not home”

Then mirrorball is this dreamscape view of who she has become this hollow version of her true self. Even though she is dead the world still sees her and she’s holding onto being seen even if it’s just mirroring. This song actually reminded me of the sun dying. We know that because of how far away the sun is from earth it would take like a little over 8mins for us to know it went out and in that time the sun shines its brightest. Again like Taylor is already dead but she’s going to shine her brightest before she goes out just for her fans.

“Hush/ I know they said the end is near/ But I'm still on my tallest tiptoes/ Spinning in my highest heels, love/ Shining just for you”

Then we have seven which I discussed a bit above but I’ll go into it a little further. She’s looking back to when she was still alive and was able to be herself. She reached her peak and had the choice to jump but she didn’t and the swing came back down with her bum still perched on the seat. Now she’s stuck.

“I hit my peak at seven feet/ In the swing/ Over the creek/ I was too scared to jump in”

“Please picture me/ In the weeds/ Before I learned civility/ I used to scream ferociously/ Any time I wanted”

Then in august we have Taylor again in this dreamscape. Taylor is saying “I can see us” like again she is looking from the outside in on her life and this relationship. This outside perspective where she’s a ghost reflecting and relishing in these moments in her life trying to figure out why she’s still wondering around this in between earthly plane.

Then this is me trying feels like her facing the dark side of her life. The song feels like her taking a turn and looking at her role in the low moment of her life and how she could’ve said more and been better. The second verse takes an outside perspective again looking back on what was happening in her head. Jumping back to exile “I never learned to read your mind” now in this is me trying Taylor is actually trying to verbalize what was going through her mind to her lover (the only person who can see the true her). “And maybe I don't quite know what to say/ But I'm here in your doorway.” Also the concept of being tortured with memories comes up again “You're a flashback in a film reel/ On the one screen in my town” like she’s trapped in this place where she is needs to fix this mess but she is still as a ghost and can’t do anything to stop it.

Illicit affairs is a song about her looking back on her life carrying on an affair with her lover. Loving her person in secret was okay for awhile But she learned that at a certain point you’ll want more and you can’t have it. She sings about living a double life. But what happens when you want to join the two but you can’t. Some part of you has to die. Thus creating a ghost.

Invisible string again feels like a dreamscape of what her life could be as ghost taylor comes to the realization that her life is tied to her lover and this is what she needs to fix in order to make it to her heaven.

“Hell was the journey but it brought me heaven”

Mad woman is ghost Taylor turning her anger towards the person/people who brought her to this hell.

“Wanting me dead has really brought you two together”

Epiphany feels like another dreamscape where taylor is pulled to other points in time. Definitely an interlude that seems to give perspective outside of her world but also touches her world. Specifically, being trapped in the moments between life and death. Those moments where you are watching someone’s life leave their eyes. The interlude of dying.

Betty in this world could be ghost taylor going back and asking for a second chance with her lover. It could be a flashback it could be the same film from this is me trying and exile. It’s the same story being told different ways. Right now is the last time I can dream about what happens when you see my face again.

Peace is Ghost taylor almost giving up. And trying to resolve to her afterlife in this purgatory in the woods and in a moment of solitude deciding what to do next. And ghost taylor asking if this would be enough. Would it be enough if I could never give you peace. If I never rest. If I haunted these woods forever. Would you be okay with just my ghost. What if I can’t get out is that okay.

Hoax gives reiterates peace in the sadness of its over. I don’t think this is a fight I can win. So ghost taylor fell into a desolate place realizing just how alone she really was in this purgatory. But staying there because she can’t leave the way she came and she doesn’t want to leave without her only one.

“My sleepless night/ My win-less fight/ This has frozen my ground.”

The lakes is ghost taylor realizing that her goal is to get out but she won’t do it until she can do it the way she wants with her person while she’s still trapped on the other side. But she knows killing her lover to do it is not the way. Almost like a battle cry she realizes that this is a fight for her life not for her lover’s death. (Ivy reference)

This is 💯 just my theory or story.

Alrighty folks, buckle up, because I googled "Taylor Swift Wonderland music video" and have fallen down a as of yet unsolved Eras tour puzzle/ one of the greatest theories I've ever heard!

Reddit Link also included

Oop—

Someone might've found this already—I don't remeber, but like... look at it...

There's of course this gem too, just for posterity.

mirrorball x guilty as sin

Did my ears fail me or did she actually sing…

“I'm still on that trapeze, I'm still trying everything, To keep you looking at me, but what if I roll the stone away? They're gonna crucify me anyway.”

???

Let me remind you of the “roll the stone away” saying from my three second google search. It’s a biblical reference with the color that, “The stone was rolled away, not so that the Lord could emerge, but to demonstrate that He'd already done so.”

It’s like Taylor is saying I’ve been trying so hard to get where I am in my career but they’re going to crucify me anyway so what’s the point in keeping this up? What would happen if I stopped hiding?

This one piece of evidence is enough for me

Can we talk about how if Taylor had phrased it "lesbian pride makes me me!" they'd still be arguing "SHE JUST SUPPORTS LESBIANS!"

There is literally 0 logic to thinking it's not an identity statement, yet they find a way.

If you're not trans like myself then are you really going to say trans pride makes you who you are just because you're an ally???

Who you support does not correlate with personal identity. Something cannot make you who you are unless you are that something. This isn't a complicated concept

I think it's just one of the biggest proofs that it has never mattered what Taylor says or does, and that is why hairpin drop was dismissed when it has 0 other meaning and she doubled down to use it again 2 years after non-stop discourse about it.

It's simply 1 of 2 things:

1. They know Taylor is queer but will always force an act that they don't believe it simply because they don't want her to be or for that to be normalized.

2. They genuinely will not recognize anything explicity queer as queer because of that deep dislike towards the community even if it stems from internalization.

At this point there is simply not anyone that doesn't have homophobic views that cannot see at the very least that the Lover era was a coming out. I do not believe it.

The same song that she said "gay pride makes me me" about is a song about herself, her own love, characterized by queer pride, music video released on lesbian visibility day, and then you further pair that with all the promo posts for it being captioned the date of lesbian visibility with the pictures solely using the lesbian flag colors as the theme. Nobody is confused, it's just hate.

Her muse ☀️🥰

I wanna know about the significance of the "the lakes" as in the lake district in England and how apparently karlie went there and tweeted about it, somewhere in 2017? 2018? And in the picture she tweeted, there were two swans in the background making a heart shape and that was one of the imagery used for lover album's merch? Not sure if you've talked about it before but I just wanna know more about it, thanks!

hello! i suspect this post may be of interest to you:

Tumblr

NINE WING ONE FOR TAYLOR 📯

Hi 9, can I ask you something DNPy? I am a baby kaylor so I am still gathering and processing info and lore; my question is, during 2017, d

i don’t have an individual writeup about the picture you’re mentioning but i do have the goods— here is the photo of karlie by a lake in england, which we assume because she posted from london that week, as she was hosting the British Fashion Awards on december 4th.

separate from the england question but while i have you here i thought id just share some other 2017 tidbits— karlie firebuilding in april 2017

and then her friend derek (who she has affectionately called her ‘brother’ over the years) sitting her down for an interview in october of 2017 where he also points out that she knows how to build a fire.

rep was of course released on november 10th 2017 where ciwyw has the lyrics “built a fire just to keep me warm” and “trust him like a brother” so you can see here just the sort of brand name playfulness from karlie, who’s always somehow able to preview taylor’s upcoming lyrics a little bit earlier than any normal person would be able to preview.

Travis Kelce & Golden Roses—Oh, We’re Keeping Count.

If you’re not spiraling yet, congratulations on your rose-colored glasses.

If you are spiraling, welcome aboard. Let’s get into it. 🌹

1. The Fit

Travis Kelce arrived at the biggest game of his career in a full rust-brown Amiri suit, paired with a shimmering, deep-V shirt and—pay attention—a golden rose brooch.

2. The Golden Rose: A Valentine’s Gift for… Who?

First, let's begin with Valentine's Day 2024. It was Travis and Taylor's first time celebrating the holiday as a couple. While Taylor was in Melbourne for The Eras Tour and Travis was absent, he adorned her with gifts. One of the gifts being... a golden stemmed rose.

So, in 2024, this was a romantic gesture of love to Miss Americana on Valentine's Day, right? Glad we can agree. Let's fast forward to February 9th, 2025.

It's time to talk about the golden rose brooch on Travis’ lapel.

While Travis was wearing one gold rose, his “best friend” Ross Travis posted a photo from the Super Bowl of a nearly identical golden rose sitting on his lap. This time, the entire rose is fully gold plated, a bit of an upgrade from last year's Valentine's gift, if I do say so myself. This rose will never wilt.

The picture above on the right was the only story Ross Travis posted that night.

Just guys being dudes? Or is there more to this?

If you swapped out one of these men for a woman, we wouldn’t even be having a debate—everyone would be freaking out over what an obvious romantic gesture this is. It was taken as a romantically sweet gesture when Taylor received one last year...

And we’re not done yet.

3. So, Why Isn’t Mainstream Media Talking About This?

Because there has only ever been ONE openly queer active NFL player.

For an industry that thrives on hyper-masculinity, it’s no surprise that this golden rose exchange isn’t making headlines. The NFL isn’t exactly known for celebrating queer relationships, and speculation around a player’s sexuality isn’t something sports media is going to touch unless it’s explicitly acknowledged.

But just because they won’t talk about it doesn’t mean we can’t see it. It doesn't mean they aren't showing us.

4. The Taylor Swift Connection: A Golden Rose, A Valentine’s Emoji, and a 2017 Throwback

Back in 2017, Taylor launched The Swift Life app, which included a set of custom Swift-themed emojis (affectionately called Taymojis).

One of the emojis in the Valentine’s Day pack was a golden rose—identical to the one Travis and Ross wore.

And the caption under that emoji?

🫡 “This will last forever.”

Yes. You read that correctly.

Every emoji in that pack was love-themed. "I <3 U." "Look out! You might catch feelings!" "Kisses!" And then we have this golden rose, captioned as something eternal.

The timing? This rose exchange between Ross and Travis happened five days before Valentine’s Day.

Now, I’m not saying Taylor had a hand in this… but I’m also saying we’ve seen too much to ignore it.

I can see the rose given to Taylor in 2024 as a symbol of temporary love, while the rose in Ross' lap at the 2025 Superbowl seems to symbolize forever, according to Taymojis and the fact that the rose is completely frozen in gold.

5. The Reputation Era Callback & Call It What You Want

This isn’t just about a golden rose and a well-tailored suit—it’s about timing.

At this same game, Taylor wore her infamous T chain, a direct reference to Call It What You Want. That alone was enough to make us dig. But when we zoom out and look at what era she’s teasing, things get even more interesting.

We are on the cusp of Reputation (Taylor’s Version), and Taylor has already warned us that the vault tracks are going to be fire. 🔥

And let’s be honest—Gaylors have been saying for YEARS that if Taylor was ever going to use a vault track to say something explicitly sapphic, Reputation TV is the place to do it.

Why? Because Reputation wasn’t just about damage control. It was about narrative control. It was about hiding in plain sight. It was about creating an image that served a purpose, while the truth stayed in the shadows.

So what if this rollout isn’t just about reclaiming her masters?

What if it’s about reclaiming her true reputation—not the one the public crafted one, not the one she had to play along with, but the one she’s been teasing at for years through hidden meanings, visual cues, and layered storytelling?

She’s nodding to Call It What You Want.

She’s doubling down on Reputation-coded imagery.

The golden rose, a symbol of permanence and love, reappears in a way that directly connects to her own past branding and gifts from Travis.

If 1989 TV was about nostalgia and reinvention, Reputation TV could be about revision and revelation.

And that, my friends, is why this moment feels bigger than just a suit, a rose, and a Super Bowl flex.

6. Final Thoughts: “Best Friends” or Something More?

If any of this had happened between a male athlete and a woman, the entire internet would be calling it romance, just as we saw in 2024.

But because it’s happening, now, between two men, we’re supposed to pretend it’s just a meaningless fashion moment?

Let’s be real:

The golden rose was a choice.

Ross Travis posting the exact same golden rose was a choice.

The Taymoji connection is insane.

The timing with Reputation references makes this undeniable.

At the end of the day, whether this is romance or just another hidden narrative, it’s very clear that this is more than just a suit.

And if you’re still not convinced? Well…

🌹 Call it what you want, I guess. 🌹