B Movies Blog

Hello, Movie Mavens! Welcome back to the B Movies Blog. Today, we’re popping the eras of Taylor Swift into the ol’ VCR. 

Sometimes, ideas pop into my brain that are too good to pass up. This is one of those ideas. 

Friends, I’ve broken down each era of Taylor Swift and paired it up with a horror movie (with the exception of one, but it was too perfect). Now, some of the reasons may only make sense in my head, but I think you should be able to follow my reasons (emphasis on should). 

I’ve also pulled three songs from each album that I think would be featured on the soundtrack for maximum effect. 

Alrighty, let’s swiftly get to it. 

Me to anyone who argues with my choice of movies. 

Taylor Swift as The Loved Ones 

In her book, The 2000s Made Me Gay, Grace Perry talks about Taylor Swift and why she relates to her music. She views Taylor Swift’s early albums as the daydreams of a teenager stuck in a small town; she believes many of these songs to be Taylor’s imagination running away with her. That’s why I think Taylor’s first album pairs well with The Loved Ones. 

Sean Byrne’s The Loved Ones is a classic love story between a girl and her captive crush. After rejecting her invitation to prom, Lola and her father kidnap Brent so that Lola can have her dream prom. 

Now, you might be asking yourself why I’ve paired these two together. Think about it. Whenever you’re a teenager and have a crush on someone, you’re willing to do a lot to get their attention (Lola just takes it to the extreme). And, if you face rejection, you’re likely to journal something akin to “Teardrops On My Guitar.” 

Soundtrack songs: “Picture to Burn,” “Teardrops On My Guitar,” and “Invisible” 

How I feel at most social gatherings

Fearless (Taylor’s Version) as Tragedy Girls 

At its core, Fearless is about female friendship and growing up. In Tyler MacIntyre’s Tragedy Girls, Sadie and McKayla’s friendship evolves throughout the film. Do they bond over murder? Yes, but work with me here. Tragedy Girls chronicles the ups and downs of adolescent friendship and romance, just like Fearless. 

Soundtrack songs: “Fearless,” “Bye Bye Baby,” and “Fifteen” 

I had this exact hair cut in high school, and I can confidently tell you that it wasn’t seen as a serve. 

Speak Now (Taylor’s Version) as Carrie  

For some reason, Speak Now (Taylor’s Version) was the hardest album to pair. Then, I re-listened to “Mean,” and everything clicked. Brian De Palma’s Carrie is a film adaptation of Stephen King’s novel (which also happens to be the first King book I ever read and one of the first horror movies I ever remember seeing). Carrie is centered around Carrie White, a young girl who is bullied at school by day, and abused by her extremely religious mother by night. 

Speak Now (Taylor’s Version) represents a whirlwind of emotions. From being bullied to feeling loved to having your heartbroken, Speak Now (Taylor’s Version) parallels Carrie’s journey throughout high school and prom night. 

Soundtrack songs: “Mean (Taylor’s Version),” “Speak Now (Taylor’s Version),” and “Haunted (Taylor’s Version)” 

Me after completing a minute task. 

Red (Taylor’s Version) as Ready or Not

I think this matchup might be the most obvious. Matt Bettinelli-Olpin and Tyler Gillett’s Ready or Not is a delightful horror comedy wherein Samara Weaving’s Grace finds herself marrying into a wealthy family… who made a pact with the devil to keep their fortune. The whole movie consists of Grace playing a deadly game of hide and seek in an attempt to spare her life. 

I know what you’re thinking. How the hell does this connect, right? Well, the playful tone of Ready or Not would be amplified through some of the songs in Red (Taylor’s Version). Additionally, Red (Taylor’s Version), at least to me, represents a young woman channeling her strength to overcome major heartbreaks while interjecting some humor into the situation. And, I believe your husband not telling you about the game night from Hell constitutes a major heartbreak. 

Soundtrack songs: “I Knew You Were Trouble (Taylor’s Version),” “We Are Never Ever Getting Back Together (Taylor’s Version),” and “The Lucky One (Taylor’s Version)” 

Me disassociating as I listen to “All Too Well (10 Minute Version) (Taylor’s Version)” on repeat.

1989 (Taylor’s Version) as Scream VI 

For some reason, Scream VI and 1989 (Taylor’s Version) immediately paired for me. Blame it on the setting and commentary, but tracks like “Welcome to New York” would fit so nicely within a meta horror movie. I would also LOVE for our queen, Mindy, to go off on a tangent about how franchises will include pop music for no apparent reason, other than a cash grab. *Cut to a party/chase scene with the likes of “Shake It Off” playing in the background* 

Soundtrack songs: “Welcome to New York,” “Out of the Woods,” and “Black Space” 

Hey Anika, All You Had To Do Was Stay 🥴

Reputation as Jennifer’s Body

I have never connected two pieces of media so quickly as I did with Reputation and Jennifer’s Body. As I’ve said before, I will be FERAL when Reputation (Taylor’s Version) is released. I know Taylor gets a lot of flack for Reputation, but it’s one of, if not my favorite, Taylor Swift album of all time. 

Karyn Kusama’s film Jennifer’s Body, much like Reputation, is about a girl killing a part of herself, only to be resurrected as something greater. Jennifer is also seen as something evil to be destroyed, and, well, we all remember what happened that led to Reputation. While Jennifer might’ve been “actually evil, not high school evil,” and Taylor was proven innocent, I think the sentiment is the same within both pieces of content. 

Soundtrack songs: “Look What You Made Me Do,” “This Is Why We Can’t Have Nice Things,” and “I Did Something Bad” 

Honestly, the music video for “You Belong With Me” is like the prequel to Jennifer’s Body. 

Lover as Fear Street: Part One – 1994

This was another given for me. Something about the progression of Deena and Sam’s relationship in Fear Street: Part One – 1994 just screamed Lover to me. Lover, in my opinion, covers everything from the delusional honeymoon phase of a relationship to the complex nuances of love.

One of, if not the biggest, overarching themes of the Fear Street trilogy is love. Deena and Sam’s relationship transcends time, as seen in 1666, and you already know that Deena would put “False God” on a mixtape for Sam. 

Soundtrack songs: “Death By A Thousand Cuts,” “Daylight,” and “Cruel Summer” 

Heather, You Need To Calm Down 

Folklore as May 

Now, this may seem like a wildcard, but hear me out. The soundtrack for Lucky McKee’s May, which I love, has a similar vibe to Folklore. May feels very confessional and almost like we’re watching a fucked up reverse fairytale. Folklore listens like we’re being read three minute stories. Each song represents a different person and/or story within a person’s life. 

Much like Folklore, Angela Bettis’s May is complicated. At times, you really feel for her. At other times, you can’t stand her. Either way, Folklore and May fit together. 

Soundtrack songs: “this is me trying,” “mirrorball,” and “invisible string” 

You can’t look at this girl and tell me she wouldn’t be a Swiftie. 

Evermore as Pearl 

For those who haven’t seen Ti West’s Pearl, the long and short of it is that Mia Goth’s title character wants to achieve fame at any cost. She’s a technicolor terror who enjoys spending time with her pet alligator and making everyone around her uncomfortable. I know I might be underselling Pearl, but it was one of the best horror movies to come out of 2022. I digress. 

There are so many songs on Evermore that remind me of older music, like the kind Pearl would most likely listen to; there’s a maturity to the tracklist. Pearl is a complex character, so she needs an album with range that also addresses some aspects of fame. Evermore would remind her that she’s a star. 

Soundtrack songs: “no body, no crime (feat. HAIM),” “dorothea,” and “cowboy like me” 

Prolonged Eye Contact (Pearl’s Version)

Midnights as Promising Young Woman 

I know, I know. Promising Young Woman isn’t a horror movie. BUT, y’all can’t tell me these two don’t go together like Bo Burnham and Paris Hilton’s banger “Stars Are Blind.” 

Emerald Fennell’s Promising Young Woman follows Carey Mulligan’s Cassie as she seeks revenge for her best friend and punishes men of, let’s just say, ill-repute (aka rapists who try to take advantage of women). Boys will be boys, but they’ll also get what they deserve.  ¯\_(ツ)_/¯

The themes of revenge, karma, and having to become your own hero we hear within Midnights are perfect to represent Promising Young Woman. 

Soundtrack songs: “Mastermind,” “Vigilante Shit,” and “Karma” 

The epitome of the Good For Her subgenre.