1. They are both “Never Ever Ever Getting Back Together” with someone (or someones).
2. They have clichéd views of romantic relationships, influenced by fairy tales and idealistic fantasies of love.
Taylor Swift’s lyrics seem to spring from stories of true love and heartbreak that bear little resemblance to the real world, as Vulture’s Willa Paskin points out in “Taylor Swift’s Precociousness Problem.”:
“[Swift’s] boy-crazy anthems voraciously pillage from our cultural store of romantic clichés and very rarely get specific: Sparks fly instantly; kisses happen in the rain; bouquets end up in the trash; hands run through hair; grooms skip out of on weddings; people have meaningful drawers at their boyfriend’s house.”
Even when she’s been thwarted in love, such as in the song “White Horse,” Swift uses familiar romantic imagery to express herself:
I’m not a princess, this ain’t a fairy tale,
I’m not the one you’ll sweep off her feet,
Lead her up the stairwell.
This ain’t Hollywood, this is a small town.
I was a dreamer before you went and let me down,
Now it’s too late for you and your white horse to come around.
Feminist blog Tiger Beatdown sums it up quite neatly:
“Taylor Swift is Twilight. It’s this totally idealized romantic narrative that fourteen-year-olds can project themselves into which is unrelated to the realities of relationships.”
“Sansa was a lady at three, always so courteous and eager to please. She loved nothing so well as tales of knightly valor.”
She is ecstatic when her marriage is arranged to Prince Joffrey, as he is literally the “Prince Charming” she has been waiting for her entire life.
“Sansa did not really know Joffrey yet, but she was already in love with him. He was all she ever dreamt her prince should be, tall and handsome and strong, with hair like gold.”
“They are children, Sansa thought. They are silly little girls… Their dreams were full of songs and stories, the way hers had been before Joffrey cut her father’s head off. Sansa pitied them. Sansa envied them.”
3. They embrace traditional, arguably patriarchal, ideas of femininity and womanhood.
In her songs, Swift’s love interests are always in control, while she waits passively for them to sweep her off her feet or comfort/protect her. As Tumblr users have pointed out, this can make parts of her songs come off a little sexist.
So don’t you worry your pretty little mind,
People throw rocks at things that shine
And life makes love look hard.
The stakes are high,
The water’s rough,
But this love is ours.
Swift appears to embrace this idea in her personal life as well as in her songs. In a November interview with Harper’s Bazaar, she admitted that she liked the man in her life to “wear the pants” in their relationship:
“If I feel too much like I’m wearing the pants, I start to feel uncomfortable and then we break up…Relationships are the ultimate collaboration but it’s wonderful to hand over the reins to your boyfriend when you control so much of these big, high-pressure decisions, you know? That is a huge defining factor in who you choose to be with.”
Like most young noblewomen, she openly worries about failing to give birth to a son and heir - for the majority of the first book/season, this and her constant worry about whether or not Joffrey loves her are her two biggest concerns.
As a de facto hostage in King’s Landing after her father’s death, Sansa survives the treacherous court using the ladylike grace, dignity and perfect manners she was taught as a child, even in the face of physical and emotional abuse.
4. They have horrible luck in romantic relationships.
In a Vanity Fair interview this month, Swift fired back at endless rumors about her love life and complained about the “tabloid culture” that attempts to turn celebrities into “fictional character[s].”
“If you want some big revelation, since 2010 I have dated exactly two people… The fact that there are slide shows of a dozen guys that I either hugged on a red carpet or met for lunch or wrote a song with… it’s just kind of ridiculous.”
Sansa’s love life doesn’t improve as the books progress. Without going into too much detail, people in positions of power continue to set her up with less than desirable suitors for their political gain.
5. They both maintain a public persona.
Vulture explains the backlash to Swift’s joyful expressions:
“The face is meant to be genuine, humble, and polite, but it comes off as affected. She has won more than 60 awards. It is getting difficult to believe it’s a shock. Swift, like the good, smart stage kid she is, is obeying the letter, rather than the spirit, of graciousness. She comes across as disingenuous in the very act of being herself.”
After her father’s death and her brother’s rebellion, Sansa must disavow her family and pledge love and obedience to Joffrey, a sadistic boy who regularly orders his guards to beat her, in order to survive. Her ability to sell this act keeps her alive.
6. They have been publicly humiliated by powerful, somewhat unstable men.
No explanation needed.
After King Joffrey learns of Sansa’s brother’s victory in the north, he threatens Sansa with a crossbow in front of the entire court and orders his guards to beat her.
Joffrey orders them to tear her clothes off as they attack her. In the books, they actually strip her naked from the waist up.
7. They are the objects of widespread hatred.
The New York Times reports that Swift’s popularity rating has recently dipped to a record low for the singer.
According to the marketing evaluations company Q Scores, Ms. Swift’s popularity rating, which takes into account familiarity (about 8 out of 10 people surveyed knows who she is) and appeal, peaked in 2010 at 30 out of 100. Presumably, Ms. Swift was reaping the benefits of the Kanye West debacle, when he interrupted her acceptance speech for Best Female Video by barging onstage at the MTV Video Music Awards in September 2009.
But her popularity score has since dropped by a third, to 20 this year, the lowest it’s ever been, though still 4 points higher than the average score (16) in the performer category.
“She’s not doing the kind of numbers that an advertiser would really love to see,” said Steven Levitt, president of the marketing company, noting her trajectory.
I think I hate Sansa in Season one of Game of Thrones (and the book) more than any other character on TV.— Nic Ryder
8. They thrive (or, at least, survive) in cutthroat environments.
Sansa Stark is alive, while members of her family and many fan favorite characters are dead. Say what you like about Sansa, the girl knows how to survive… and in Westeros, that’s no small accomplishment.
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