Taylor Swift’s Eras Tour has been a pop culture moment the likes we’ve never seen before. The tour, which is still running, is the first to ever hit $1 billion in revenue. It’s the most successful live tour in history. The struggles of many to acquire tickets through Ticketmaster has become a political issue. The filmed version of the tour hit theaters late last year and quickly became the highest grossing concert film in history.
To much fanfare (and a reported $75 million price tag), Disney+ has received the exclusive streaming rights to Taylor Swift: The Eras Tour (Taylor’s Version). Now streamable, the film runs a mind-boggling three and a half hours. Included in this edition of the concert film are four new acoustic songs (the “surprise song” tradition along the tour has become the stuff of legend), along with her performance of “Cardigan”, which was cut out of both the theatrical release and from its VOD debut.
To witness the behemoth of a concert, and one that is still running raking in the dough, is quite astounding. I’m not sure we’ll ever witness such a moment again in culture during our lifetimes. Seeing multiple sold out nights at Los Angeles’s SoFi Stadium is, for lack of a better term, wackadoo. Swift has every audience member in the palm of her hand (and the billfold of her wallet) the entire runtime of her performance. No one can deny that what she’s doing is a feat: singing for over three hours straight while keeping energy at a constant high.
Being able to watch the complete concert whenever they want, in its entirety, with the click of Disney+ is a huge coup for any Swiftie. The confidence in having this performance a click away and having every era represented (other than her self-titled debut album, past the performance of “Our Song” during the acoustic moment) must be similar to winning the lottery for some.
Turning on the film in the comfort of my home, surrounded by an obscene amount of Dr. Pepper is always going to be my preferred way to enjoy music. (As I type this, Kacey Musgraves’ newest album releases at midnight…I am prepared with Pep!) However, the comfort also leads me to have a more discerning eye.
There are some truths I knew going into this viewing based on my appreciation for the Swift’s discography and my first viewing of the concert on VOD a few months ago: Red (Taylor’s Version) is her best re-release thus far, “august” might’ve been a key part of me emotionally surviving the pandemic, and that dancer (you know the one) might just be the hottest man I’ve ever seen.
Yet, on the rewatch, everything reads as more…hokey. In a way, that’s Swift’s schtick. Her sincerity is so caked into everything that she does, theater kids cringe saying “it’s a bit much.” She has to play some of the biggest arenas in the world, so being able to connect with every single audience member is a talent. When watching at home? With close-ups? It’s just…so on the nose. As the evermore section of the concert began, with the witch capes and glowing orbs out of a non-equity production of The Crucible, I couldn’t help but grow. Subtly is not Taylor’s speciality.
That’s the point though, isn’t it? For some, they love everything spelled out for them. Many who don’t connect with Taylor Swift (or, in her most pop eras, Tayla Swiff according to Las Culturistas) could likely trace it back to the way her lyrics tend to be “show, not tell”. She is, in a way, the ultimate theater kid. She is forever imagining her life is a music video and she’s the main character. The weirdest part is that she is the main character, but she continues to twirl and act surprised by the audience’s reaction. Sometimes, it hits and
This concert film is not going to change anyone’s views on the superstar. The most powerful voice in America is not suddenly ending the film by using her platform to take a strong stance on any current event topic. She knows her place: one alienating comment and the audience splits. It’s a big bummer (for lack of a more educated term), but one that exists nonetheless. Swifties are going to receive the full concert in all its entirety and they are going to be grateful for it.
Whether you absolutely love her or despise her with every fiber of your being (you don’t know her, but, okay), we all have to be brave and admit something: this is really poorly filmed. When the trailer was released for the theatrical release, it looked…odd. When I watched the movie back in December at a viewing party, I was too involved with the bracelet making and snacks to take notice. The Disney+ release has made me consider that this entire concert might have been filmed using the back camera on my Mazda?
When a new era begins, some of the worst CGI you’ve ever witnessed announces what album we’re tackling next. It’s bad. Remember all those people who hated the She-Hulk trailer? Do NOT show them Eras. As the rest of the concert takes place, no editing choice makes any sense. It’s as if every shot was put into a randomizer and they decided to pull the lever and hope for the best. After the release of Renaissance: A Film, which was shot and edited with such precision, it makes me feel bad. The most successful tour in the history of live performance deserves a stronger recording. Especially when the extra songs are placed post-credits with little fanfare. I guess it works as an encore? It just feels…wrong.
Even while it looked like it was filmed incredibly lazily…it’s still a marvel to witness a pop culture touchstone that will be remembered for the rest of time. Having it streamable is a gift to not only die-hard Swifite, but music aficionados and lovers of culture. (And like, “august” still hits four years later and had me twirling in my room. Dang, she got me, gal!) Next up on Taylor’s list of likely accomplishments? Most streamed film of all-time.
(BTW Mr. Dancer Sir? LMK if you are free to teach me how to dance like you? Or also be hot?)