HomeCelebrityTaylor's Venomous Vengeance: How 'The Tortured Poets Anthology' Reignites Her Feud With...

Taylor’s Venomous Vengeance: How ‘The Tortured Poets Anthology’ Reignites Her Feud With Kim Kardashian


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Just when you thought Taylor Swift had exercised all her demons and thoroughly celebrated her triumphant re-recording era, she went and pulled her most devious trick yet. In the wee hours after releasing her critically-acclaimed 10th studio album The Tortured Poets Department to the world, the pop megastar unleashed a top-secret second volley of songs she coyly titled The Tortured Poets Department: The Anthology.

For the legions of Swifties continually awed by their Queen’s chameleonic ability to consistently reshape her own narrative, this doubled-down album bomb raised more than a few gasps. Because buried amongst the 15 bonus tracks are a pair of scathing broadsides pointing a very familiar venom directly at none other than Kim Kardashian.

Yes, that ancient blood feud between Swift and the reality TV empress has reignited, roughly seven years after it catalyzed one of the most tumultuous periods in the singer’s life and career. With razor-sharp lyrics dragging the Kardashians through fresh rhetorical hellfire, The Anthology is poised to reopen one of pop culture’s most iconic celebrity beefs for a new generation.  

The Snake Reawakens

The feud’s origins trace back to 2016 when Kardashian’s then-husband Kanye West debuted the song “Famous” containing the lyric “I made that b**** famous.” West claimed Swift had approved the line, which she vehemently denied, igniting a social media firestorm. Kardashian then shared an edited snippet of a phone call between the stars that made Swift appear deceitful, weaponizing the snake emoji used by the singer’s fans into vicious online harassment.

“That took me down psychologically to a place I’ve never been before,” Swift admitted in her 2022 Time Person of the Year interview. “I moved to a foreign country. I didn’t leave a rental house for a year. I pushed away most people because I didn’t trust anyone anymore.”

The fallout fueled Swift’s emotional rebirth on her defiant 2017 album Reputation, which featured a strike-back single “Look What You Made Me Do.” She rebranded as the Snake Queen, owning her villainization through a provocative new gothic persona.

Now in the midst of her stellar $2 billion Eras Tour celebrating her entire re-recorded catalog, Swift refused to let old grudges lie. On the new bonus tracks “thanK you aIMee” and “Cassandra,” she appears to revive her vendetta against the Kardashian clan with unmistakable venom.

The Art of Obfuscation 

As ever with Swift’s battle-tested songwriting, nothing is directly explicit. On “thanK you aIMee,” she adopts a narrative persona of a vicious high school bully terrorizing a meek classmate. But the conspicuous “KIM” formation in the titular spelling screams of Kardashian subtext.

“I changed your name and any real defining clues/And one day, your kid comes home singing’ a song that only us two are gonna know is about you,’ ‘ Swift snarls, embracing her ability to encode her enemies through metaphor.

Likewise, the coiled “Cassandra” is littered with snake and reptile references clearly nodding towards Swift’s unhappily serpentine branding from the Reputation era. “The snake is whistling to me/And she’s green and she’s hissing and her fangs are ice cold,” she cautions in the song’s foreboding bridge.

In Greek mythology, Cassandra was a Trojan priestess cursed by Apollo that her prophecies would never be believed. It’s a clever encapsulation of Swift’s frustration at being publicly gaslit and villainized unfairly over the Kardashian-West feud – a characterization she has fought tirelessly to rewrite and overrule.

“That conflict made me heal,” she notes on “thanK you aIMee,” proving she’s emerged more empowered than ever in repurposing it into searing, cinematic art.

The Gasoline on the Fire

Of course, these lyrical jabs were artfully concealed in the supplemental bonus tracks of The Anthology’s bombshell late-night release. But even that seems like a deliberate dog-whistle to enrage Kardashian and her family by reopening old psychic wounds.

There’s no question Kardashian will interpret these lyrics as a reignition of their blood feud and respond in kind. Her previous strikes against Swift were calculated with surgical precision to go viral and wage an orchestrated campaign of public shaming. The reality mogul is nothing if not a master at sowing internet discourse and outrage.

So with her wildly successful Eras Tour just on temporary hiatus as she prepares to re-launch the European legs on May 9th in Paris, Swift has effectively tossed fresh gasoline on the dying embers of their feud. It’s provocative, it’s calculated, it’s pure Swiftian chaotic genius.

For while her tour is a joyous career-spanning celebration, The Tortured Poets Department: The Anthology has reasserted Swift’s mastery at shapeshifting her own narrative into eras – as evidenced by the clever revised title. By resurrecting old grievances with Kardashian for fresh provocation, she’s ensured her latest chapter is infinitely more layered and complex than pure nostalgia.

At 33 years old, Taylor Swift doesn’t merely rewrite her own history and discography for public adoration. She furiously seeks to control how every aspect of her persona and art is absorbed into pop culture forever. 

No celebrity feud better personifies that endless meta battle for authorship over her own life story than her lingering scars from being “canceled” by the Kardashians. With a simple double-album Trojan horse packed with serpentine lyrical vengeance, the grievance has been indefinitely reignited – only this time, with Swift possessing all the power.


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