“I don’t think I’m making you feel that way, I think you’re making yourself feel that way,” he says to Sink. It perfectly fits the song in the sense that O’Brien is such a relentless, gaslighting asshole there’s no way you’d side with him. On second thought, are these in-jokes or just literal choices? The fight scene struck me. When the couple literally “dance in the refrigerator light,” the crowd cheered. Sink wears a black turtleneck and red lipstick, like Swift. Many of the scenes feel like in-jokes with the audience. When Swift called it a “cinematic universe,” she meant it. The camera goes outside, and we see O’Brien, wearing the red scarf Sink left at their cabin upstate. Sink is now Swift, reading an excerpt of her first novel, All Too Well, to a crowd of crying women. The film ends with a flash-forward to 13 years in the future. He drops her hand at dinner in front of his sophisticated, artsy friends. Then, part 2, titled “The First Break in the Glass.” O’Brien is hosting a dinner party where Sink is clearly uncomfortable. They montage through happy-couple activities: playing a card game, kissing in the forest, spontaneous piggybacking. Sink and O’Brien are at the beginning of their relationship, walking into a cottage in the forest where Sink hangs up a red scarf. Now onto Swift’s directorial debut: The short stars Sadie Sink, 19, as “her” and Dylan O’Brien, 30, as “him.” (Did you notice a pattern in their ages? Swift’s fans sure did.) After lingering on a quote from Pablo Neruda, “Love is so short, forgetting is so long,” we open on a beautiful autumnal road. Surrounded by my fellow Swift fans, it occurred to me that this trilogy-which made coupled-up people like me and Cameron briefly (and jokingly) long for the gut punch of a breakup-felt like a gift from Swift to all her lovesick fans, past or present, and permission to wallow. “All Too Well” is a perfect breakup ballad, achingly sentimental and with one of Swift’s trademark song-making bridges holding it all together. When she announced that Red (Taylor’s Version) would be coming, Swift hinted that one of the songs would be 10 minutes long. (For what it’s worth, Maggie told Andy Cohen that, although everyone asks, she has no recollection of the scarf.) The one for “All Too Well” was “MAPLE LATTES,” which Gyllenhaal and Swift were reported to have on their walk to Maggie’s house. Second, Swift is known for leaving hidden messages in her album’s notes-specifically, irregularly capitalized letters in the lyrics of each song that spell out messages. “All Too Well” is held together by first Taylor leaving the scarf at her paramour’s sister’s house, and then said paramour holding onto it. First, in the paparazzi shots of Gyllenhaal and Swift heading to his sister Maggie Gyllenhaal’s house in Brooklyn, Taylor is wearing a striped scarf. There are two key pieces of evidence tying the actor to this mythical song.
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