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#dreams and wishes

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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

the kind of desire that dare not use the door: rob sheffield / taylor swift

The Mirror Atlas: An Intro to Taylor Swift’s Reflection

I’ve been fascinated by Taylor Swift’s use of mirrors for a long time and the deeper I look, the more prophetic it becomes. Mirrors in her world are never just props. They’re signals. Symbols. Tools of revelation and concealment. A mirror might reflect a self, or fracture it. It might hide a truth in plain sight... or hold someone else entirely.

Now, nearly a decade after Kaylor, I remain ~unashamedly~ convinced that there is still a story being told. Whether it’s past or present, I don’t claim to know. I’m willing to wait, watch, and listen as it all unfolds. One thing is for sure, it's impossible for me to ignore. When I see a compact mirror in Karlie Kloss’s hand at the 2025 Met Gala, I can’t unsee it. The mirror is a portal—and she opened it on camera.

It’s no secret that Reputation was misunderstood when it dropped. What amazes me is that, even now, most of the fandom still doesn’t seem to get it. But maybe that’s the point. Maybe Taylor only ever meant for it to be revealed in hindsight. And maybe that’s why the rerelease is taking so long... When it comes, it’s going to be just as devastating as the first time watching it go over people’s heads again.

As I explore this, it's important to note that I see the mirror theory and eye theory in the same vein. So, if the visible eye on the Reputation album cover really is Karlie’s (and I believe it might be), then what we’re looking at isn’t just a concept album. It’s lore buried so deep, it’s taken years to even begin surfacing. Yeeeears to really start clicking.

This post is the beginning of a larger project, tracing the moments where mirrors appear in Taylor’s visual storytelling. Not as decoration, but as active participants in the mythos. This is about symbols that shimmer with double meaning—about what Taylor tells, and what she leaves unsaid. These are three mirrors that matter.

We begin in the present, with a mirror held by someone who’s never really left the frame.

1. Karlie Kloss, The Compact Mirror, and Met Gala Moments

On May 6th, 2025, Karlie Kloss posted a carousel of “getting ready” images to Instagram following the annual Met Gala. Her look that night? Glamorous, gleaming, and a little too Reputation coded, especially given who's watching. However, the morning after brought the smoking gun.

In one image, Karlie holds a compact mirror. The reflection shows an eye that doesn’t quite look like hers. It appears softer, rounder. There’s a flash of blonde bangs in the frame.

Peculiar, for sure...

A video in the same post, sped up to near-invisibility, shows nothing unusual at first. But slowed down, the reflection seems to catch the shape of someone else entirely. Some say it’s Taylor. Some say it’s just a trick of the light.

But to those of us watching closely, it’s giving the Call It What You Want Miss Americana clip all over again. Five years going strong.

Even the background audio adds weight. The song playing over Karlie’s video is “U Weren’t Here I Really Miss You” by Cult Member and Mia Martina. Released in 2019, the title alone echoes themes of absence and longing. It’s soft and moody and truly feels like a fever dream. If this was a curated moment, the music choice may be the quietest clue of all.

At the same time, Taylor is currently selling a compact mirror on her official site. It’s etched with the lyric, “Are you ever dreaming of me?” from Delicate.

A lyric about vulnerability, desire, and the terrifying risk of being truly seen. The mirror in Karlie’s hand lives in a video viewed thousands of times. Sure, they're not the same object, but they speak the same language. One asks the question. The other hovers near the answer.

Oh, the compact mirror... This wouldn’t be the first time it's made an appearance in their shared visual universe. In 2015’s Bad Blood—the cinematic music video where Karlie played the knife-throwing assassin Knockout—compact mirrors flash a couple of times.

In one shot, a mirror is held by Selena Gomez's character, Arsyn, and reflects Taylor (her character, Catastrophe) mid-battle. Right after, Arsyn blows smoke off the mirror into Catastrophe's face and she falls, shattering the glass wall behind her. In another moment, Gigi Hadid’s character, Slay-Z, holds a compact that functions more like a weapon than a beauty tool. The mirror isn’t for touch-ups. It’s used to see, to target, to surveil.

For my own entertainment, while we're at it and talking about Bad Blood, I wanted to note what I see as Bad Blood callbacks in two of Karlie's Met looks: 2025 and 2016… go figure.

The Met madness is deep within Gaylor lore and it's something that deserves it's own dissertation. For the sake of chronicling, let's turn our eyes to 2019. On the night of the Met Gala themed Camp: Notes on Fashion, Karlie posted a photo holding a compact mirror with the caption: “Looking camp right in the eye.” It was clever and pointed. For most, it was totally misunderstood. For some, it felt like the photo winked.

Camp, in its purest form, is queer—an art of exaggeration, subversion, and coded visibility. The fact that Karlie chose a mirror to make that statement only deepens the meaning. It wasn’t just a nod to the theme. It was a reflection held up to the gaze itself.

When a motif returns like this: same object, same players, years apart... it stops being aesthetic and starts being intentional. The compact mirror isn’t just a prop. It’s a reflection of things unsaid. When Karlie picks it up in 2019 and again in 2025, we’re not just watching a routine beauty shot. We’re seeing something resurface. A deep portal. A time travel. All the love we unraveled and a whisper that says: I'm still here.

2. Reputation – The Disappearing Act

If there’s an era where mirrors stop reflecting and start breaking, it’s Reputation. The visual and lyrical language of this album is all about distortion, erasure, and strategic self-construction. It’s not about being seen—it’s about being watched. And what better symbol to carry that weight than a mirror?

Let’s start with the cover.

EYE THEORY TRUTHERS, RISE.

Tiktok

Replying to @jembroyderies 🫣 #eyetheory #taylorswift #gaylor #kaylor #karliekloss

Replying to @jembroyderies 🫣 #eyetheory #taylorswift #gaylor #kaylor #karliekloss

The Reputation album cover is a grayscale newspaper layout that blankets half of Taylor’s face. Some believe the visible eye belongs to Taylor, and the obscured one? Karlie’s. (It’s me. Hi.) A theory, sure—but the ambiguity holds. The cover itself becomes a mirror. Or maybe a mask. Either way, it’s hiding as much as it reveals.

I need to make my own Eye Theory deep dive (and I will)... but if you're interested now, there are so many lovely Tik Tok creators that are a total wealth of knowledge :)

Digging into the album, the use of mirrors continues. For the sake of this being an intro, let's touch on a relevant music video from this era.

We’ve already seen the compact mirror show up in Bad Blood, where it’s held like a weapon. But in Delicate, the mirror becomes something more slippery—something emotional. In this video, Taylor isn’t fighting anyone. She’s trying to find herself. And the mirrors in the video don’t reflect a consistent identity. They shift. They vanish. They resist.

Let’s break it down.

00:33–00:36 In the opening hallway scene, Taylor walks with her bodyguards through a grand hotel corridor. She catches a glimpse of herself in a passing mirror, and something strange happens: she and the guards stop, walk backward, then charge forward again. It’s as if the sight of her own reflection interrupts the performance. The self in the mirror is the managed one. The one who turns around? That’s the version trying to break free.

00:44–1:02 In the dressing room scene, Taylor stands alone, making wild faces into the mirror. It’s one of the only moments in the Reputation era where she’s truly unguarded, and it’s with her reflection. She isn’t performing for the world. She’s performing for herself. It’s silly, strange, and a little unhinged. It’s honest.

1:03–1:12 But then, the spell breaks. Three women enter the room. Taylor vanishes. And so does her reflection. The moment she’s no longer alone, the mirror erases her. That is not subtle. That is design.

2:34–2:45 Later, in the elevator scene, a woman stands beside Taylor, smiling, applying lipstick, completely unaware of her presence. Taylor is still invisible. She exists outside the reflection, outside the frame, outside the narrative.

To me, Delicate is one of the most emotionally rich videos in Taylor’s entire visual canon. It’s a meditation on freedom—the kind that only comes when no one is watching. The moves she makes in the video are strange, almost feral. And I think that’s the point. She’s showing us how she behaves when the mirror no longer holds her. When she’s unseen and alive.

There are more mirror moments in Reputation that we’ll get to in the Mirror Atlas, but Delicate stands alone in its depth. It isn’t just a pop video. It’s a reflection of what happens when the reflection disappears.

3. mirrorball – Shimmer, Performance, and Emotional Reflection

If Reputation was about erasure, mirrorball is what’s left behind in the spotlight. It’s one of Taylor’s most quietly devastating songs—soft in delivery, but sharp in what it reveals. This time, she isn’t looking into a mirror or breaking one. She’s become the mirror itself.

In the Long Pond Studio Sessions, Taylor describes mirrorball as a song about performing through pain, about the exhausting need to be “everything for everybody.” She compares herself to a disco ball—beautiful because it’s broken, casting fractured reflections for others to enjoy. “If you break it, it’s just made of a million pieces of broken glass.” That’s the metaphor. And it’s not just poetic—it’s literal.

She didn’t perform mirrorball in a mirrored outfit on the Eras Tour, but that detail only makes her earlier choices more significant. In 2018, at the American Music Awards, Taylor stepped out in a full mirrorball dress. A mosaic of tiny mirrored tiles wrapped around her body. She wore it to accept awards for Reputation, the album that she’s still letting us unravel. The look was bold, but intentional. She showed up shining—reflective, beautiful, unreadable.

In 2023, at The 1975’s concert in London, Taylor made a surprise appearance wearing another mirrored mini-dress. It wasn’t just a callback. It was a performance of an identity. She was stepping into a space filled with speculation, projection, and fantasy—and she wore exactly what the crowd would expect. Not because it was her. Because it was what they wanted her to be.

And that’s what makes mirrorball so devastating. The mirror isn’t something she holds. It’s something she becomes. In the crowd’s gaze, in the fandom’s theories, in the industry’s demands—she reflects, refracts, and never quite settles into her own outline. Even her absence is curated. At the 2025 iHeartRadio Awards, Taylor didn’t attend, but sent a performance clip of mirrorball from opening weekend of Eras. She didn’t appear. The mirror did.

Some may believe otherwise, but to me, this isn’t a song about love. It’s about exposure. About what it costs to be adored, interpreted, and seen only in fragments. mirrorball doesn’t reveal who Taylor is. It reflects who we ask her to be.

And maybe that’s the point. I mean, the last thing we’ve heard from her in months was a clip of mirrorball standing in for her at the 2025 iHeartRadio Awards. Now, there's many buzzing fan theories of all sorts stirring around the 2025 AMAs. If she were to break her silence there, it'd be on the same stage where she first wore that Balmain beauty in 2018. it’s hard not to feel like the loop is closing. The timing is too sharp to ignore.

The End of the Intro, The Beginning of an Atlas

So, given this brain dump, I hope it’s clear that my interest lies in the mirror—not just as a visual, but as a motif woven through Taylor’s body of work. What I've started here is just the beginning, but even with only three moments, the pattern starts speaking for itself.

It’s enough to say with confidence: the mirror isn’t just a flourish. It’s a signal. A portal. A language. And once you see it, it’s everywhere.

This post isn’t a thesis. It’s a foundation. A first pass at something deeper, something still unfolding. The Mirror Atlas will grow—moment by moment, frame by frame—as we trace this reflection through Taylor’s universe.

If you’ve noticed a mirror—literal or symbolic, lyric or live—share it. The comments are open. The story is still being written.

And if you ask me, this mirror trail feels less like theory, and more like an invisible string tying Taylor to… her.

Buckle up, fam, because I have a theory, comprising a lot of different threads I’ve been piecing together for a while now

Yesterday, TaylorNation posted a bunch of lyrics from different albums on Instagram and Twitter.

I knew that something was up the second I saw this lyric from Speak Now, for two reasons.

1. This lyric is incorrect. It should be “I hope you remember.” This is a pretty big error to make .

2. This is the only lyric that uses multiple fonts. And I thought that font looked familiar…

Because it did. It’s the exact font as “swooping sloping cursive letters” from the Paris lyric video.

I think this is just one part of a lot of Easter eggs and threads pointing to TS 12 as a coming out album.

I’ve been a comingoutlor since the Lover era, and I’ve believed that TS12 will be a coming out album since 2022, when Taylor first told us to meet her at midnight.

Let’s unpack, shall we?

1. Taylor has been hinting at TS12 for a while now, since at least the Karma music video. At the end of the video, we see the clock tick to midnight IN BETWEEN 1989 and Reputation.

2. I remain a karma truther, and I think the Man wall is still relevant here - Karma is on the wall twice, once in black (Karma the song) and once in orange (for the lost album). I don’t think it’s a coincidence that orange Karma is at the 12 o’clock position on the wall.

I do think TS12 will be an orange/lesbian flag album. It might be called Karma, or it could just represent Karma to Taylor - all the years of cages and hiding and hurting, all leading to this moment. It’s been a long time coming, and it’s coming back around.

3. On October 18, 2024, Taylor posted a video on her Instagram of herself in a stadium. She walks 11 steps, stops in front of section A12, pauses, removes her sunglasses (I’ll come back to this) and then takes steps 12 and 13.

I think this video was signaling that there would be a pause after TS11 (which we are currently in) and then TS12 would follow.

Note that she is also holding Olivia, because Karma is a cat!

Now, everyone has been clowning for the AMAs for a while now, and I have been too! Taylor’s website literally spells out AMAs, and there are 12 items on sale for 26% off. (The AMAs are on the 26th this year). TaylorNation also seems to be pointing in that direction.

The AMAs just so happen to fall on the 2 year anniversary of the Karma music video.

This is especially suspicious given Ice Spice’s random video last year where she was not only reading a magazine from 2015 with Karlie Kloss on the cover, but she was also wearing bright orange slippers and had pink and orange vases behind her.

Here is where it gets a little crazy, stay with me.

Karlie has predicted every single album release over the last few years.

On March 16, 2025, Josh posted this:

This this this 💘

(source)

👻

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.

esp when it’s a photo from a road trip and in the song she shouts out “trip of my life” 🙈

LOUD you say? 3/8 you say? 🧐👀

Making our way through the London Fundon 🙂 crowds to say, "Hello"! 👋 We cannot wait to hear how LOUD these next three of EIGHT Taylor Swift | The Eras Tour shows will be! 🇬🇧 📷: Xavi Torrent/TAS24/Getty

tstheerastour.taylorswift.com

Taylor Swift

Can we talk about in the OOTW video when her hands are covered in spiked icicles? Anything she touches she will damage, whether it be herself or others. Does this represent when her hands were tied behind her back and she couldn’t defend herself?