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security roundupTaylor Swift's Facial Recognition Scans Crowds for Stalkers There is little sense of why Swift—or director Lana Wilson, known for her documentary film After Tiller, about doctors who perform third-trimester abortions—chose to release Miss Americana now. Her last album, Lover, came out last summer. She's not at a crossroads in her career. Her most recent public relations dustup, involving the record executive Scooter Braun and licensing rights, goes unaddressed. (Filming seems to have ended before the fallout began.) Instead, the film responds to some of Swift’s more persistent criticisms, like being “cold-blooded and calculating,” possessing a “ridiculous victim mentality,” and “peddling a lie” about who she really is behind the pop-star veneer. Miss Americana is Swift’s attempt to humanize herself, to show a peek at the real person who wears the celebrity skinsuit.
In the documentary, we watch Swift come to grips with 15 years in the spotlight. Sort of. She invites cameras into her recording studio, workshopping song lyrics on her iPhone. She ducks fans and paparazzi outside her house and explains that she had an eating disorder, worsened by seeing her body captured in so many surprise photographs. She rereads her teenage diaries and pets a kitten while playing the piano.A question lurks beneath every moment: Where does the Swift persona end and Swift, the person, begin? It goes unanswered. Instead, the key moments of the film—some of which are endearing, some of which are not—feel more like an extension of the brand Swift has so successfully created than a look at what’s behind it.
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For fans, parts of the film will feel like watching a rerun. We’ve already seen the making of the music video for “You Need to Calm Down,” because before it appeared in Miss Americana, Swift made an Instagram story about it. We’ve already met her mom’s “cancer dog”—a Great Dane named Kitty—on social media, too. She told fans about her mom's cancer diagnosis on Tumblr back in 2015. We know her political beliefs because she posted them online too.Celebrities don’t owe anything to their fans, nor should viewers expect any real glasnost in documentaries about their lives. But without real candor, the genre feels like an extension of what artists already put out on social media—like a 90-minute-long TikTok. As the writer Amanda Petrusich wrote in her review of Gaga: Five Foot Two in 2017, the modern pop-star doc “often either feels like unapologetic hagiography or is revealing only in extraordinarily calculating ways.” The documentaries are personal, often uncomfortably so, but they aren’t sincere. The intimacy is superficial.
The trope is repeated again and again. In Homecoming, we see more of the hardworking, creative, superstar Beyoncé we already knew. The struggles of having just given birth to twins, via emergency C-section, are largely downplayed. When Lady Gaga takes her top off in Five Foot Two, it’s clear that she’s trying to appear naked, emotionally and otherwise—yet she struggles to articulate her history of chronic pain, sexual assault trauma, and reliance on antipsychotic medications. The worst of these is perhaps the new YouTube docu-series on Justin Bieber, Seasons, which amounts to several hours of watching Bieber trot around the recording studio with his new wife. The 2012 documentary about Katy Perry, Part of Me, manages to knock the star off balance a little—only because the cameras happen to be rolling when Perry goes through a painful divorce from Russell Brand, capturing a backstage meltdown from the heartbreak. The result is deeply humanizing.