The Life of a Showgirl is the twelfth studio album by the American singer-songwriter Taylor Swift. It was released on October3,2025, throughRepublic Records. Swift recorded it in Sweden with the producers Max Martin and Shellback, during the European leg of the Eras Tour in mid-2024.
Inspired by the tour and her romantic relationship with the football player Travis Kelce, Swift conceived The Life of a Showgirl as a vibrant and lively album that reflected her triumphant state of mind. It is a soft pop and soft rock record about fame and contentment in love. The singer Sabrina Carpenter has a guest feature on the title track. Swift adopted a flamboyant, showgirl-inspired art direction for the album, collaborating with the fashion photographers Mert and Marcus. Journalists described it as the most provocative and glamorous visual aesthetic of her career.
The Life of a Showgirl topped the album charts across the Americas, Europe, and Asia-Pacific. In the United States, it became the fastest-selling album in history, moving over 4 million album-equivalent units in its first week, including over 3.4 million pure sales. It became Swift's 15th number-one album on the Billboard 200 chart—the most for any soloist. The album's tracks, led by "The Fate of Ophelia", occupied the top 12 spots of the singles charts in Australia, Canada, and the United States. The Life of a Showgirl was certified multi-platinum in Australia, Canada, New Zealand, the United Kingdom, and the United States.
Swift wrote and produced her twelfth studio album, The Life of a Showgirl, with Max Martin and Shellback, who previously worked with her on the albums Red (2012), 1989 (2014), and Reputation (2017).[9][10] The collaboration began after she spoke to Martin during the Stockholm shows of the Eras Tour in May2024, expressing, "I want to be as proud of it as an album as I am of the Eras Tour, and for the same reasons".[11] She traveled to Sweden in between stops of the tour's European leg in the following months to record The Life of a Showgirl at MXM and Shellback Studios in Stockholm,[9][12] as well as during Christmas after the end of the tour.[13][14] Swift mentioned that when she reunited with Martin and Shellback to work on the album, they had all gained more "dexterity" than in the past and "were carrying the same weight as creators".[15]
The album's creation had been a long-term goal for Swift: "That focus and that kind of discipline with creating an album and keeping the bar really high is something I've been wanting to do for a very long time".[16] She opted for a thematically consistent approach for The Life of a Showgirl, believing that the removal or addition of any track would change the essence of the album.[17] The first song written for The Life of a Showgirl was "Elizabeth Taylor". Swift wrote its refrain after experiencing a "sudden burst of inspiration", and she recorded a draft on piano and sent it to Martin and Shellback, who reacted positively.[18] The last track written was "Wish List", which Swift described as the album's "final piece".[19] Her record label, Republic Records, was unaware of The Life of a Showgirl until it was finished and promotional materials had been created.[20][9]
Critics characterized the sound of The Life of a Showgirl as retro,[43][46] showcased through songs like "Elizabeth Taylor", which features retro strings, and "Opalite", which incorporates a retro swing production.[47][48] Songs such as "Father Figure", "Cancelled!", and "The Life of a Showgirl" feature string orchestrations performed by Swedish musicians.[34] The three opening tracks—"The Fate of Ophelia", "Elizabeth Taylor", and "Opalite"—showcase bass-led pop productions; Tristen Schilling of Hot Press opined that they recalled Swift's singles "Style" (2015) and "I Can Do It with a Broken Heart" (2024).[49] Most of the songs contain pop hooks, demonstrated through the first three tracks and "Father Figure".[23][50] Some critics thought that The Life of a Showgirl blended elements from Swift's previous works, mainly Red, 1989, Reputation, Lover, Evermore, and Midnights.[a]Sputnikmusic's staff writer wrote that the album featured vocal nuances akin to Midnights and production styles reminiscent of Reputation.[22]
The Life of a Showgirl was inspired by Swift's public and private lives while on the Eras Tour in 2024.
Swift described The Life of a Showgirl as being about "what was going on behind the scenes in my inner life during [the Eras Tour], which was so exuberant and electric and vibrant".[55] The frame narrative revolves around her experiences during the tour, including both its successes and difficulties.[56] Using confessional songwriting,[57][33]The Life of a Showgirl is mostly about Swift's fame and romantic relationship with the football player Travis Kelce.[56][42] The lyrics depict various emotions such as nostalgia, resentment, vindictiveness, and sexual arousal.[36] Throughout most of the album, Swift addresses the challenges of the entertainment industry and the negative aspects of fame, including loneliness and scrutiny.[44][48] Songs like "Father Figure" and "Cancelled!" present narratives from the viewpoints of antagonistic characters, addressing predatory behaviors in the music industry and public perceptions of celebrities.[36][58]The Life of a Showgirl generally features simple storytelling incorporating adult themes such as loyalty and commitment, along with sexual innuendos and metaphors, as well as internet slang terms.[59][44][60] Joe Muggs from The Arts Desk commented that the album contained "uncharacteristically laboured rhymes" that recalled the writing style of the musical theatre writer Stephen Sondheim.[30]
Some tracks focus on Swift's romantic life.[48][61][37] She portrays love as something meaningful that enhances her life and career in "Elizabeth Taylor" and "Wish List", explores the playful and joyful side of love in "Wood" and "Honey", and reflects on her past choices and relationships, and the impact they have had on her life in "Eldest Daughter" and "Ruin the Friendship".[48][38][43] Tracks such as "Actually Romantic", "Wood", and "Honey" feature sexually suggestive lyrics.[60] The album shares similar themes with Reputation in exploring the complexities of fame, as well as Swift's romantic relationships and adversities.[b] Ed Power of The Irish Times wrote that the album conveyed a contrasting, brighter perspective to Reputation.[56] Some critics also deemed it a "sister" record to The Tortured Poets Department, given their similar portrayals of fame,[57] and thought that it recalled Lover due to its romantic themes and theatrical elements.[52][35] In the view of Jon Caramanica of The New York Times, the album reflects Swift's weariness with fame and her readiness to abandon it and embrace a new future, although she still could not fully relinquish past wounds and enemies.[62]
The album's standard edition contains 12 tracks and runs for 41 minutes and 40 seconds.[63] The title of the opening track, "The Fate of Ophelia", references the death of Ophelia, a female character from William Shakespeare's play Hamlet who becomes mad due to her lover's actions and drowns.[64][65] In the lyrics, Swift's narrator pledges loyalty to her lover and credits him for saving her from Ophelia's fate.[66][67] The dance-pop track[44] features a cascading synth groove and incorporates steel guitars and Omnichords.[56][34] "Elizabeth Taylor" is titled after the actress Elizabeth Taylor, whom Swift described as "one of the most ultimate, quintessential showgirls".[68][69] The lyrics find Swift contemplating the nature of romance and fame[70] while drawing parallels between her life and Taylor's as two famous women with highly scrutinized personal lives.[71][72] The ballad's orchestral pop-influenced soundscape[56][33] incorporates piano and programmed strings.[70] "Opalite" is a pop[43] and soft rock song[73] with influences of Eurodance[70] and doo-wop,[25] featuring synthesizers[74] and disco beats.[71] In the lyrics, Swift expresses her joy of being with the right partner[75] and reflects on both of their past relationships.[76][77]
"Father Figure" contains an interpolation of the 1987 song "Father Figure" by the singer-songwriter George Michael, who received a songwriting credit as a result.[78][35] She drew inspiration from the lyric "I'll be your father figure" from his track to write a story about a mentor–protégé relationship and how it can change over time.[79] "Father Figure" is a pop[33] and R&B ballad[56] that features synthesizers, an orchestral treatment, gentle vocal harmonies, and a key change in the final refrain.[57][75] The lyrics find Swift mocking the men in the industry who previously held power over her.[80][56] "Eldest Daughter" is a soft rock[81]piano ballad[53] in which Swift sings about the nature of eldest daughters, complemented by satirical lyrics targeting internet culture.[82][83] "Ruin the Friendship" is a country pop ballad with a jazzy 1970s-inspired production,[49][84][45] featuring a soft rock groove[85] and elements of teen pop and 1990s country.[80] In the lyrics, Swift regrets not pursuing a romance with a high school friend before his death.[45]
"Actually Romantic" is a pop-punk track[39] that incorporates drums, electric guitars,[86] and staccato rock guitar riffs.[49][34] The lyrics find Swift criticizing another artist who gossips behind her back while expressing that she feels flattered by her obsession and finds it sexually arousing.[87][88] "Wish List" is an electropop[29]power ballad[80] that features chiming synths and elements of 1980s synth-pop.[75][40] In the lyrics, Swift expresses her desire for a simple, normal life with her partner and willingness to have children; she also reflects on her past relationships and addresses the entertainment industry.[89][90] "Wood" is a disco[32] and dance track[45] with disco-pop hooks[44] and funk-pop guitar riffs.[37] The song uses double entendres[91][92] and sexual innuendos[56][61] to describe superstitious actions that allude to the narrator's sexual satisfaction with her partner.[93][94]
"Cancelled!" features an atmospheric production of stomping beats,[53][62] incorporating elements of electropop,[95] pop-punk,[35] and grunge.[61] It includes satirical lyrics targeted at the entertainment industry, misogyny, and cancel culture.[39][96] "Honey" is an R&B-influenced[33] country pop[75] and synth-pop ballad[97] with a hip-hop and trap beat,[70] and a simple arrangement of bass, banjo, clarinet, flute,[98][99] and cascading piano notes.[61] In the song, Swift's narrator reflects on her partner's sincerity when he calls her "honey" and other pet names, contrasting her previous negative experiences with such terms and her current relationship.[100] The closing track, "The Life of a Showgirl", features the singer Sabrina Carpenter, who was one of the opening acts for the Eras Tour.[101] Swift wrote some of the lyrics specifically for Carpenter and wanted her to feature on the track;[102][103] Carpenter approved immediately and recorded her part while touring in Sweden.[104] A pop ballad with country influences,[75][42] "The Life of a Showgirl" is instrumented with slide guitars and synthesizers.[61] Lyrically, it is a character study of a showgirl named Kitty, who hails from Las Vegas and goes through the challenges of show business to become a successful showgirl.[105][106] Its outro features crowd noises that were recorded at the final Eras Tour concert in Vancouver in December2024.[107]
Promotional visuals for The Life of a Showgirl have a glittery, orange-themed color scheme.[108][109] Following the announcement of the album, buildings such as the Empire State Building and Kansas City Union Station were illuminated in orange,[110] and various brands and companies posted glittery-orange memes and parodies on their social media.[111][112] The specific color went viral online; the social media platform Pinterest reported an 8,276 percent surge in searches for "bold orange glitter".[113]
Photographs for the showgirl-inspired material were shot by the fashion photography duo Mert and Marcus, who had previously worked with Swift on Reputation.[114] The standard cover artwork, which references John Everett Millais's early 1850s Hamlet-inspired painting Ophelia, depicts Swift half-submerged in water while wearing a diamond-lined bralette covering her torso, customized by AREA.[115][116] Parts of the cover fragment Swift's body into pieces resembling shattered glass,[115] and the title The Life of a Showgirl is written in orange glitter.[117] Swift stated that the cover was intended to glamorize the offstage aspects of the Eras Tour, stating that each show "ends with [her] in a bathtub."[1]Prestige Hong Kong's Surabhi Redkar wrote that "while Ophelia's eyes are left lifeless following her drowning, Swift gazes directly at you from the cover, suggesting that she isn't one to suffer and drown under the norms of patriarchy that once killed Ophelia."[118]
A rhinestone-encrusted bra and thong set worn by Swift for the photoshoot, complete with a headpiece, feathered armbands, and hip accessories, was originally designed by Bob Mackie for the finale of Donn Arden's show Jubilee!.[119][120] One of the album's artworks features Swift in the Jubilee! costume with a yellow headpiece and a choker necklace adorned with three rhinestone pendants, alongside her Eras Tour backup dancers dressed as showgirls.[119][121] Journalists characterized the overall aesthetic of The Life of a Showgirl as depicting the flamboyance and maximalism of showgirls.[c] Olivia Petter of The Times viewed the album's promotion as the first time Swift intentionally sexualized her public image,[124] and Halie LeSavage of Marie Claire described the aesthetic as "sensual and sparkling, and the most revealing Swift has ever dressed in the public eye."[115]
Marketing
On August11,2025, the sports podcast New Heights—hosted by Travis Kelce and his brother Jason—posted a thumbnail promoting their next episode, featuring a silhouette of Swift.[125][126] A countdown with an orange background appeared on Swift's website on August 12; when it ended at 12:12am Eastern Daylight Time (UTC−04:00), the website revealed the album title The Life of a Showgirl,[127][128] along with pre-order packages for the physical editions.[129] In the New Heights episode that aired on August 13, Swift revealed the cover artwork, track listing, and release date.[130] With over 1.3 million live viewers, the episode set the Guinness World Record for the most concurrent views for a podcast on YouTube.[131] It became the most-watched episode of New Heights on the platform, accumulating over 10 million views in less than 20 hours.[132]
Swift's partnerships with digital platforms included international Spotify billboards showcasing the design of the Eras Tour stage and lyrics from The Life of a Showgirl;[133][134] pop-up events hosted by Spotify and TikTok featuring sets and installations inspired by the album;[135] a Spotify playlist curated by Swift containing her old songs that were produced by Martin and Shellback;[1][136] and orange confetti and a flaming heart emoji when entering her name on Google Search.[137] The Apple Music lyrics pages for some of Swift's earlier songs were altered to capitalize certain letters, revealing lyrics from The Life of a Showgirl.[138]QR codes hidden on orange doors across 12 cities led to now-deleted videos on Swift's YouTube channel.[139] Some fans alleged that the videos were created using generative artificial intelligence and expressed their disapproval.[140][141]
The Life of a Showgirl was released on October3,2025, through Republic Records;[157] approximately 500 Target stores remained open for the midnight release to sell physical copies, including an exclusive single-pressing vinyl variant that was promoted through a social media comedy sketch.[158][159] During its release week, the album was available in twenty-seven physical variants—sixteen CDs, eight vinyls, two deluxe CDs with a clothing item, and a cassette—and eleven digital download editions.[160] Swift recorded acoustic versions of the album's songs and released them alongside demo recordings across four CDs and five digital download editions.[161] Each vinyl variant included a unique poem written by Swift that, when combined, formed the album's prologue.[162] On digital download services, The Life of a Showgirl was initially made available as a complete album without allowing individual song downloads—a strategy that was previously employed in the 1990s to encourage full-album purchases.[163]
"The Fate of Ophelia" was released as the lead single in conjunction with the album, followed by the digital release of its music video on October5.[164][165] The track topped the Billboard Global 200 chart for three weeks[166] and peaked atop the record charts of over 25 territories.[167] In the United States, "The Fate of Ophelia" became Swift's 13th number-one single on both the Billboard Hot 100 and Digital Song Sales charts.[157][168] It became her first song to spend 10 weeks atop the Billboard Hot 100.[169] "The Fate of Ophelia" became the first song in history to debut in the top-10 region of the Pop Airplay chart, and subsequently became Swift's record-extending 14th number-one single.[170][171]
Journalists characterized the critical reception of The Life of a Showgirl as mixed[d] or positive.[e] According to the review aggregator Metacritic, the album received "generally favorable reviews" based on a weighted average score of 69 out of 100 from 23 critic scores.[173] The review aggregator AnyDecentMusic? assigned it a weighted average score of 6.0 out of 10 from 23 critic scores.[172]
Positive reviews generally commended the production choices[f] and Swift's songwriting.[g]The Independent's Roisin O'Connor lauded the sonic experimentation and thematic duality, adding that The Life of a Showgirl demonstrated Swift's prowess as a storyteller.[61] Caramanica praised the production as catchy and restrained and the songwriting as intimate and powerful.[62] Schilling opined that The Life of a Showgirl established its distinct sound despite blending elements from Swift's previous works: "The album's unique pop range displays Swift as an artist determined to live up to her reputation – and succeeding."[49] Ludovic Hunter-Tilney of the Financial Times and Ann Powers of NPR praised Swift's vocals, with the former describing them as "mellifluously conversational".[182][80]
Some reviewers complimented the production but deemed the album unremarkable.[22][21][52]Paste's Ellen Johnson commended the "crisp production and unexpected melodies" but thought that the album was underwhelming and the lyrical quality was inconsistent.[21] Michael Hoffman of The Line of Best Fit deemed The Life of a Showgirl catchy and engaging but questioned its necessity and purpose.[52] Mary Kate Carr of The A.V. Club wrote that while the production was "confident and mature", it lacked the catchiness of 1989, and took issue with the album's repetitive themes.[51] Other reviewers thought that the album lacked the catchiness of Swift's previous works[39][183] and took issues with the songwriting[182][22] and the use of internet slang and sexual innuendos.[44][57]Vulture's Craig Jenkins commended the album's "lurid insights into intersections of love, money, and sparingly relinquished control" but felt that "not everything entirely clicks".[42] India Block of The London Standard found the production refreshing but deemed The Life of a Showgirl a regression from the songwriting in Swift's previous records.[174]
Other critics criticized the lyricism[h] and opined that The Life of a Showgirl generally lacked emotional depth that had characterized her songwriting.[i]Amanda Petrusich of The New Yorker added that it was missing "some essential dynamism" and took issue with Swift's meticulous style and "aesthetic of flawlessness".[185] Wohlmacher[35] and MusicOMH's John Murphy considered the album unfocused and uninventive,[27] while Pitchfork's Anna Gaca[98] and NME's Kristen S. Hé deemed it familiar, predictable, and comfortable territory for Swift.[32]Alexis Petridis of The Guardian[24] and Jonathan Keefe of Slant Magazine considered the songwriting subpar for Swift's artistry and the production dull and unremarkable.[186]Slate'sCarl Wilson wrote that The Life of a Showgirl featured repetitive themes and lacked the exuberance and emotional stakes of Swift's previous albums.[105]
Commentary and analysis
The Life of a Showgirl generated extensive media commentary.[187]Rob Sheffield from Rolling Stone described it as the most polarizing album of 2025.[188] Journalists argued that the critical reception ranged from extremely positive to extremely negative reviews[189][190] and that British reviewers were "harsher" than their American counterparts.[191] The literary critic Stephanie Burt viewed Swift as subjected to unattainable expectations,[47] while Matthew Dwyer from PopMatters thought that "the eagerness to form opinions on the singer's creative decisions proves she has done her job".[57] Meanwhile, Radio France's Julie Viallon commented that the mixed reception from both music critics and Swift's fans was due to the "excessive" marketing campaign that promised a flamboyant, theatrical experience, which was ultimately seen as undelivered by the audience.[192] Swift, in an interview with Zane Lowe, addressed the album's reception: "I have a lot of respect for people's subjective opinions on art. I'm not the art police. It's like everybody is allowed to feel exactly how they want. And what our goal is as entertainers is to be a mirror."[193]
Tyler Foggatt of The New Yorker wrote that the Kelce-inspired "weak" lyrics induced some of the "most virulent and sexist anti-Swift discourse ... in years", with some even discrediting her artistry, alleging that her previous albums were ghostwritten—a criticism Foggatt dismissed as "devastating".[194]Rolling Stone's Brian Hiatt believed that some of the discourse was "downright ludicrous, rooted in bad-faith misreadings of lyrics by listeners". Sheffield stated, "people turn off certain parts of their brain when they hear [Swift's] voice", agreeing with Hiatt and fellow critic Brittany Spanos on how "Swift's sheer ubiquity has somehow made it impossible to process her music in any kind of rational manner" for many listeners.[195]
In December2025, various publications reported that a smear campaign targeting Swift was initiated during the album's release week. According to research by the behavioral intelligence platform GUDEA, a coordinated network of inauthentic accounts seeded and amplified social media posts falsely accusing Swift of endorsing far-right politics, Nazism, and white supremacism through The Life of a Showgirl's lyrics and merchandise.[196][197][198] They identified a significant overlap between these accounts and those attacking Swift's friend Blake Lively amidst her lawsuit against the actor Justin Baldoni, who had attempted to subpoena Swift earlier in the year. Lively previously claimed that Baldoni initiated a smear campaign against her.[196][199]
The album achieved commercial success across all consumption metrics: streaming, physical sales, and digital sales.[207][208] It topped the charts across the Americas, Europe, and Asia-Pacific, and broke various records on digital music platforms.[209][210] On Spotify, The Life of a Showgirl became the most pre-saved album of all time and the first album to surpass five million pre-saves.[2][211] It set records as the most-streamed album in a single day on Amazon Music, the most-streamed album in a single day in 2025 on Spotify and Apple Music, and the fastest-selling album in 2025 on iTunes.[212][209] According to Luminate Data, the album's tracks accumulated 1.386 billion first-week streams across over 200 territories, with a record average of 115.5 million streams.[213] Republic Records reported global first-week consumption of 5.5 million album-equivalent units and 1.5 billion streams.[210]
In the United States, The Life of a Showgirl sold 2.7 million copies on its release day, instantly becoming the best-selling album of 2025.[214][183] It accumulated 3.5 million album-equivalent units in five days, surpassing Adele's 25 (2015) for the largest single-week consumption in Billboard 200 history.[215][216] After one week, The Life of a Showgirl debuted atop the Billboard 200 with 4.002 million album-equivalent units, which included 3,479,500 pure copies and 680.9 million streams, marking the most commercially successful week by an album in Luminate history. It became Swift's 15th number-one album on the Billboard 200, breaking a tie with Drake and Jay-Z for the most chart toppers among solo artists.[160]The Life of a Showgirl made Swift the first artist to have every song from an album occupy the top spots of the Billboard Hot 100, led by "The Fate of Ophelia".[157] The album's tracks achieved the 12 biggest streaming weeks in the United States for songs released in 2025.[217]The Life of a Showgirl spent 12 non-consecutive weeks at number one on the Billboard 200, becoming Swift's second-longest-running number-one album after The Tortured Poets Department.[218] It topped the Billboard 200 year-end chart of 2025 with one week of tracking during the eligibility period.[219] The album was certified five-times platinum by the Recording Industry Association of America (RIAA) in November2025.[220]
The Life of a Showgirl achieved the biggest debut for an international album in Italy and Sweden.[209] In the United Kingdom, it recorded the largest opening week for an international album in the 21st century with 423,000 chart units. It became Swift's 14th number-one album, making her the international artist with the most chart toppers.[221] The album also obtained the most streams in a single week and the highest first-week vinyl sales.[222] "The Fate of Ophelia", "Opalite", and "Elizabeth Taylor" respectively occupied the top three positions of the UK singles chart, marking the first time Swift held all three spots.[221] The album topped the 2025 year-end chart in the United Kingdom with 642,000 units, which included 147,000 vinyls—the most vinyls sold for an album in a calendar year.[223][224] In Germany, The Life of a Showgirl became Swift's fourth consecutive number-one album and recorded the highest opening week for an international solo artist.[225][226] Its songs made her the first artist to claim eight out of the top 10 spots simultaneously.[227] She also became the first international artist to simultaneously debut at number one on both the album and singles charts with The Life of a Showgirl and "The Fate of Ophelia".[225] The album topped Germany's year-end chart of 2025, selling over 225,000 copies.[228]
The album topped the Australian ARIA Albums Chart and made Swift the first artist to have every song from an album occupy the top spots of the ARIA Singles Chart.[229] It achieved the biggest debut in Canada in the streaming era and became Swift's 15th number-one album on the Canadian Albums Chart, tying her with Celine Dion for the most chart toppers. The album's tracks monopolized the top 12 spots of the Canadian Hot 100.[230] In France, the album debuted at number one with 66,700 album-equivalent units, including 52,466 pure copies, marking Swift's largest debut in the country.[231] On year-end charts, the album reached number one in Australia[232] and Austria;[233] number two in Belgium (Flanders),[234] New Zealand,[235] and Switzerland;[236] and number three in the Netherlands.[237] It has been certified quadruple platinum in Canada;[238] double platinum in Australia,[239] New Zealand,[240] and the United Kingdom;[241] triple gold in Germany;[242] and platinum in Austria,[243] France,[244] Italy,[245] Portugal,[246] and Spain.[247]
↑The Alone in My Tower Acoustic Version contains acoustic versions of "The Fate of Ophelia" and "Eldest Daughter"; The Dressing Room Rehearsal Version contains acoustic versions of "Wish List" and "The Life of a Showgirl"; The Life Is a Song Acoustic Version contains acoustic versions of "Opalite" and "Ruin the Friendship"; and The So Glamorous Cabaret Version contains an acoustic version and a demo recording of "Elizabeth Taylor".[299]
↑The Deluxe Alone in My Tower Acoustic Version contains acoustic versions of "The Fate of Ophelia" and "Eldest Daughter", and two demo recordings of "The Life of a Showgirl".[300]
↑The Deluxe Dressing Room Rehearsal Version contains acoustic versions of "Wish List" and "The Life of a Showgirl", and demo recordings of "The Fate of Ophelia" and "Father Figure".[302]
↑The Deluxe Life Is a Song Acoustic Version contains acoustic versions of "Opalite" and "Ruin the Friendship", and demo recordings of "Honey" and "Cancelled!".[303]
↑The Deluxe So Glamorous Cabaret Version contains an acoustic version of "Elizabeth Taylor", and demo recordings of "Elizabeth Taylor", "Wood", and "Ruin the Friendship".[304]
↑The Deluxe So Punk on the Internet Version contains demo recordings of "The Life of a Showgirl", "The Fate of Ophelia", "Father Figure", "Honey", "Cancelled!", and "Eldest Daughter".[305]
↑The Acoustic Collection contains acoustic versions of "The Fate of Ophelia", "Eldest Daughter", "Wish List", "The Life of a Showgirl", "Opalite", "Ruin the Friendship", and "Elizabeth Taylor".[306]
↑Three additional limited-run vinyl variants were released as part of Swift's holiday merchandise collection.[308]
↑Willman, Chris; Aswad, Jem; Garcia, Thania; Horowitz, Steven J. (December 11, 2025). "The Best Albums of 2025". Variety. Archived from the original on December 12, 2025. Retrieved December 11, 2025.
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