something people don’t appreciate enough is the fact that different songs on midnights explore the same topics in numerous, sometimes contradictory ways. on snow on the beach, she’s scared that a new relationship might not work out; on labyrinth, she’s terrified that it might. snow on the beach also talks about the celestial forces that bring two people together; mastermind confesses that she was the force in question all along. bejeweled describes the confidence and freedom of bending the rules of a relationship; high infidelity is filled with guilt and terror for simply dancing with another guy. she takes the money on you’re on your own, kid, but she feels stifled by it on anti-hero. she ends you’re on your own, kid with inspiring words; on dear reader, she warns the audience not to listen to her advice. she burns in hell on anti-hero, but karma is her god on karma. she can face any struggle fame throws at her on you’re on your own, kid, but she’s too soft for all of it on sweet nothing. she’s a diamond and a monster on the hill at the same time. it’s almost like each story is told from multiple perspectives like the love triangle on folklore, but instead of several fictional characters, the narrators all exist in different corners of taylor’s mind.
