5: "Elizabeth Taylor" — fame's fickle feast

In Track 2, our showgirl finds herself living the life of her dreams yet consumed with aching loneliness and haunting anxiety. 

Will any of this last? Is it possible to find enduring love in this life she’s chosen?

With no one else to ask, she reaches out to the ghost of Elizabeth Taylor: “Do you think it’s forever?”

While the song itself doesn’t provide an answer, Elizabeth’s life makes it pretty clear.

In this episode, we unpack “Elizabeth Taylor” not just as a pop song, but as a haunting conversation between two women—one living, one gone—both trapped in the spotlight. A fellow showgirl who, like her, had everything… except someone she could trust.

Emily Dickenson once wrote, “Fame is a fickle food… men eat of it and die.” Swift’s showgirl is learning this the hard way. Fame might be delicious at first, but it never fills you — and the flavor turns bitter fast. The allure of stardom, like the power of her beauty, is sharp but fleeting. As she sings in “Opalite,” “you’re starving til you’re not.” 

That's the conflict introduced in this second chapter of The Life of a Showgirl saga.

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Here’s Emily Dickenson’s poem:

Fame is a fickle food

Upon a shifting plate

Whose table once a

Guest but not

The second time is set

Whose crumbs the crows inspect

And with ironic caw

Flap past it to the

Farmer’s corn

Men eat of it and die

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Transcript

1:18

Welcome to Lit one 12, the Life of a Showgirl where we treat Taylor Swift's latest album like a novel, peeling back the layers of meaning from Shakespearean allusions to character arcs and auditory techniques. I'm your host, Mara Eller, a literature and writing teacher with 16 years of experience at the high school and college level. I just retired to focus on editing and book coaching, but when I started getting requests for this series on social media, I couldn't resist. Whether you're a veteran swifty or just an AP lit nerd like me who happens to like her music, all are welcome here. I've even got something for you. Writers, creative prompts inspired by the subject of each lesson. You can find them at the end of the episodes. So grab your metaphorical notebook and let's unpack this record together, chapter by chapter, song by song.

Mara Eller 2:09

Today we're talking about elizabeth Taylor, track two. if you haven't already listened to my two episodes on the fate of Ophelia, the song and the other on the Fate of Ophelia, the music video, go ahead and do that because today we're picking up where that song ends. When we're viewing the album as a concept album telling one cohesive narrative, I see the fate of Ophelia as her origin story. It's chapter one. this showgirl is discovered and catapulted to fame. At first, she thinks this is a dream come true, but perhaps she's starting to see by the end of the track that there are some cracks in this facade. It's not always so dreamy as she imagined, and this is emphasized by her expression in the bathtub at the end of the music video. So that brings us to track two. Elizabeth Taylor.

3:00

Why is this showgirl singing to a dead movie star? That's the driving question behind this song. Swift isn't just name dropping. Or complaining about being rich. I. She's telling a story about a showgirl who's reaching out to another woman who lived and died in the spotlight. A fellow showgirl who like her, had everything except someone she could really trust.

Mara Eller 3:21

Swift described this as a song about"the anxiety provoked by fickle fame." It could be a reference to Fame is a Fickle Food by Emily Dickinson poem from 1702. I'll read the poem to you, but I'll also put the poem, in the caption for you. Fame is a fickle food upon a shifting plate whose table once a guest but not the second time is set. Whose crumbs the crows inspect and with ironic caw, flap past it to the farmer's corn. Men eat of it and die. Pretty ominous, right? if nothing else, we get from this that fame is a fickle food, men eat of it and die. First they get the fame, the excitement, the thrill, but it leads to death. So fame is a big motif in this song. Also loyalty. The first line is Elizabeth Taylor. Do you think it's forever? Is this going to last? she is addressing Elizabeth Taylor. We have to ask why. Why is she talking to this star who is no longer alive? It's a little morbid to be honest, right? I see it as picking up on one of the themes that was subtly implied in the Fate of Ophelia about not having a female friend to talk to. in the play, Ophelia notably had no one she could talk to, no one she could trust. The only other female character in the play is the Queen who's in on all the treachery. And I wonder if perhaps this showgirl also has no one to trust, no female friends. Elizabeth Taylor is of course, an iconic showgirl. She's not a singer, but she's certainly a performer. She lived her life in the spotlight, and notably, she struggled to find lasting love. She basically becomes a character in this novel through this song. for clarity, i'm gonna refer to Elizabeth Taylor as Elizabeth and Taylor Swift as Taylor I would prefer to refer to them both by their last names as we would a scholar or an artist or an author Sometimes women are not given the same respect in that way that men are. But for clarity here, we're gonna just use first names. Okay. So, Elizabeth Taylor was one of the most famous film stars of the mid 20th century. Along with fame for her films and her beauty, she achieved notoriety for her love life, her many and storied marriages. Elizabeth made her acting debut at age 12 in the 1944 film, National Velvet. By age 16, she was photographed for a profile in Life magazine wearing a low cut dress, and suddenly she was a grownup woman for all of America to see. And a stunningly attractive and well endowed one at that. In 1950 at the age of 18, Elizabeth married the heir to the Hilton Hotel fortune, her first marriage, but what began as a fairytale, quickly became a nightmare. Elizabeth endured both mental and physical abuse that resulted in a miscarriage at one point, leading to her divorce just eight months into the marriage. In 1952, she marries a distinguished actor 20 years her senior. During their five year marriage, they had two sons. It was supposed to be a time of relative peace and security, at least at first. But her husband struggled to accept that his wife had become the financial provider because by this point, she's massively famous and successful. So their, relationship ends. She marries producer Mike Todd in 1957, which seems to have been her happiest marriage, but it's tragically cut short when he dies in a plane crash just a year later when her daughter is only seven months old. About a year after that, she marries Eddie Fisher, a singer who infamously left his wife Debbie Reynolds for Elizabeth. Their affair was a massive scandal and much of the public turned their backs on Elizabeth at this point, calling her immoral and just really blasting her. Remember, this is the mid late fifties, so this kind of thing is a very big deal But 1961, she wins her first best actress Oscar for her role as a call girl in Butterfield 8. She wins best actress, but it is for a very sexy role. She's playing a sex worker, so she's by this point, struggling with this image of, sex kitten and also like scandalous adulterous. definitely some highs and lows here. That relationship starts to unravel after a few years, and she begins an affair with fellow actor Richard Burton, whom she met on the set of Cleopatra. They apparently fell madly in love while filming, and their affair became public affair number two. Reportedly her still husband Fisher threatened her with a gun during this time, and Elizabeth attempted suicide twice, so clearly not doing well. this is hitting pretty hard, all of this, but she ends up getting married to Richard Burton in 1964, and they were famous for their lavish spending, including on jewels like diamonds, which will come up in this song, screaming fights and just reckless, overwhelming head over heels infatuation. She wins her second Oscar in 1966, so she's still doing really, really well professionally. Also extremely wealthy between herself and Burton. but several years into their marriage, Burton has an affair with another actress, and he and Elizabeth divorce in 1974, only to remarry in 1975. and divorce again after another year. She famously said, I don't want to be that much in love ever again. I gave everything away my soul, my being, everything. She became a successful business woman with her fragrance lines around this time, and later became involved in humanitarian efforts. She marries twice more. Her last husband is 20 years, her junior. but she is single at the time of her death. So this is the person Taylor is singing about in this song not only about her, but also to her. It starts with simple piano chords. much like the fate of Ophelia minor key, and then just her vocals come in, kind of breathy. There's a some gorgeous harmony. She says, or sings, Elizabeth Taylor, do you think it's forever? Well, what is it here? we should immediately be asking what is forever? We have this rich symphonic sound with harps and strings kind of old Hollywood vibes. Verse one, that view of Portofino was on my mind when you called me at the Plaza Athénée. Portofino is an Italian village where Burton famously proposed to Elizabeth in 1964 and the Plaza Athénée is a Parisian hotel where Elizabeth stayed with Burton for six months, I believe, once they were married. So right away references to Elizabeth's life and references to her torrid love affair with Burton. The lyrics continue. Oftentimes it doesn't feel so glamorous to be me. This line right away brings out that contrast with what we heard in the fate of Ophelia, especially if we view it as the same story. The fate of Ophelia is about having this life that she's dreamed of, this life of glamor and fame and success. But right at the beginning of track two, she says, It probably looks glamorous, but it doesn't feel so glamorous. Next line, we learn why, or at least part of why. All the right guys promised they'd stay under bright lights, they withered away, so they promised to stay with her, but when the public scrutiny, in the spotlight, they wither, and that's such a powerful word. She could have used something else, you know, they wandered away, but they wither, it's like they are wilting and, drying up but you bloom. Great contrast there. Bloom and wither Both things that plants or flowers can do. So who is this you? is this Elizabeth or is this someone else? in the chorus, it definitely seems to be a different you, or at least in the pre-course, which we're about to get to. So she says under a bright light, stick with it away, but you bloom. Portofino was on my mind. She repeats that and I think, you know why. Who's this you? Is it Elizabeth? Like Elizabeth, I think you know why, definitely implying something here about expecting a proposal since Elizabeth was proposed to in Portofino. Then the pre-course, and if your letters ever said goodbye, this is where it starts to seem like it's a different you perhaps, but definitely implying something about one of those right guys leaving. The music to this point is still very simple. Piano strings, vocals an old Hollywood feel, but then the chorus drops with a bass piano note electro pop with kind of a rock edge. We're not in old Hollywood anymore, so it is clearly blending the showgirls present with that iconic past. Okay, the beat drops. I'd cry my eyes. Violet. This is a reference to Elizabeth's iconic violet eyes. They're really kind of a dark blue, but almost a violet tint to them. It's also the name of one of her perfumes, violet eyes. She repeats. Elizabeth Taylor, tell me for real, do you think it's forever? It seems clear now that she's asking whether her current relationship will last been number one, but I never had two. Gives us the idea that, she's hit number one., She's been the best in her field, but she's never had a lasting number. Two, she's never been part of a lasting pair. And I can't have fun if I can't have. doesn't finish the line there, finishes it the next time. Be my NY when Hollywood hates me, New York here is representing an escape, perhaps relative anonymity compared to what it's like in Los Angeles. Be my escape. when public scrutiny becomes too much, who is she addressing in this line? It's not really clear. Like who does she want to be her escape? Is this Elizabeth Taylor? Is this her lover? You're only as hot as your last hit, baby. One of my favorite lines This is where we get the fickleness of fame. Your status can change in an instant public opinion, but also maybe the opinion or loyalty of her lover. it all depends on her last hit and it could change in an instant. She repeats spin number one, but I never had two and I can't have fun if I can't have you. Who is the you here? Is it her lover? That seems likely. So it's like she can't enjoy her fame if she can't have her number two. second verse. What could you possibly get for the girl who has everything and nothing all at once? such a great line to articulate the feeling of being on top of the world and yet also feeling like she can't trust any of it. That it could all vanish with one misstep. babe, I would trade the Cartier for someone to trust. Elizabeth was famous for her jewelry collection, which included Cartier super expensive. Someone to trust here implies that she's feeling like she can't trust anyone. But this line I would trade the Cartier for someone to trust is followed really quick by just kidding. it's easy to miss. I did the first time, but it implies that she actually wouldn't trade it. As much as she longs for a simpler life, she knows she wouldn't actually trade away her wealth and success for someone to trust. Crucial line there. We hit the best booth at Musso and Frank's. This is a restaurant in LA where Elizabeth was known to eat. It's like fine dining, so it's another reference to luxury. They say I'm bad news. I just say thanks. A reference to notoriety, just like Elizabeth. People have a bad opinion of her. She's trying to be tough about it. She says, and you look at me like you're hypnotized. And I think you know why. Burton described feeling hypnotized by Elizabeth's beauty, her sex appeal, basically. So it makes me think of the term starstruck, and it raises the question, does he love her or does he love the image of her? The idea of her? Pre-chorus, and if you ever leave me high and dry, so another reference to the potential end of the relationship. It's also a fun way to allude to the shipwreck or like water motif from the fate of Ophelia. We've got the chorus again, and then we go into the bridge. She sings All my white diamonds and lovers are forever. White diamonds is Elizabeth's most famous fragrance, and I think diamonds there represent wealth and lovers obviously represents relationships. So all my white diamonds and lovers are forever in the papers, on the screen, and in their minds. wealth and lovers relationships are forever, but only in the news and in their minds. Who's them? Is it the public? Implying that she knows they're not really forever or she suspects they might not be? it reminds us of her question at the beginning. is it forever, maybe the it's here are wealth and success and her romantic relationships, and she's asking Elizabeth Taylor, are these things forever? Are they going to be forever clearly because she's worried that they won't be.

16:15

And while we don't actually get Elizabeth Taylor's answer, I think it's pretty clear from her life what it would be.

Mara Eller 16:21

And then she says, don't you ever end up anything but mine. It's simultaneously a warning and a prayer, a hint at the vengefulness that comes out later in some of the other songs on the album. And then everything repeats and it ends on that line. don't you ever end up anything but mine. It's rather ambiguous and pretty sad. So I see this song as picking up when the showgirl still pretty young, just like Elizabeth Taylor was when she became massively famous. 18, something like that has become insanely famous, but she's starting to see what's behind the curtain, so to speak. She has everything she once dreamed of, but she's terribly lonely, anxious, starting to doubt the motivations of those claiming to be her guides and experiencing the first waves of media backlash because she is only as hot as her last hit. And also maybe, getting some flack for her string of love affairs, whether they're literally adultery or just multiple boyfriends in a row. She has no one she can really trust because all her lovers are as fickle as fame itself, or at least they have been up until this point Something Elizabeth Taylor learned the hard way as well, And since the showgirl has no real friends, no female friends, she resorts to talking to Elizabeth, it's like she's wishing they could be friends and commiserate. She is asking, am I going to end up like you? And I think she's also asking herself, would I trade real happiness for the diamonds of wealth and success? Because it's starting to seem like that's the choice she's facing and she really doesn't know what she wants. It's terribly sad, but there's also a hint of anger in that last line. Don't you ever end up anyone else's but mine. She feels powerless, but she wants to find power. It's like she knows it must be there somewhere if only she can grasp it. She has so much fame and success and adoration. There must be some power here somewhere. And it also brings up that theme of agency from the fate of Ophelia wanting to be able to control her own life. She's getting so much of what she always dreamed of, and yet there's a hollowness to it that's starting to haunt her. she doesn't like what's happening, but she doesn't know what to do about it. She doesn't wanna lose everything she's achieved, and she's terrified of risking all of that. But she also can't be happy in the life she has. She's full of what ifs with no one alive that she can ask.

18:54

One of the criticisms about this song and about the album as a whole is that it's not relatable because it's all about how hard it is to be rich and famous. But if you look closer, this song, like the album as a whole, has a lot to offer us common folk first, don't we all struggle to trust the people? We love to trust that the good things we have will last That bad things aren't waiting right around the bend. Second, don't we all struggle with conflicting desires? With wanting multiple things that can't coexist. In reality, we want lots of free time, but we also want lots of money, which means working a lot of hours. We want freedom to do whatever we want, but we also want healthy, committed relationships. Third, as Taylor said on Jimmy Fallon, we all have a public life now thanks to social media. We all struggle with the cognitive dissonance between our online persona and who we really are between appearance and reality. We all struggle with the fear of coming under public scrutiny while at the same time hoping we blow up on whatever platform. For many, especially artists and entrepreneurs, this is an all too familiar reality of life today. To quote our Emily Dickinson poem again, fame is a fickle food upon a shifting plate. That's the tragedy of the showgirl. A banquet is set before her and she reaches for it hungry for success, attention, fame, but it never satisfies for long. And the same goes for those who reach for her as the showgirl sings in the next song. They're starving till they're not. They're all chasing something that never fully satisfies, feasting on glamor and desire while what they really want is love and genuine acceptance. As chapter two, in our life of a Showgirl Saga, this song sets up the conflict that drives the rest of the plot. Chapter one introduced our main character and pushed her out of her ordinary world into this life of excitement and adventure. It is our inciting incident, and chapter two picks up from there by introducing the conflict, the tension, the problem that our showgirl is going to be struggling with for the rest of the larger narrative. She finds herself torn between the fame and success that she's always dreamed of and now has. But then also the simpler life that she now misses. One where she didn't have to worry about the paparazzi or what was gonna be printed about her in the papers. She didn't have to worry if people only liked her for her fame Or her success. And where she wasn't consumed with this anxiety that it was all going to disappear If she makes just one misstep. It also really explicitly introduces the love story subplot that I see in this larger narrative. She longs for someone to be with her forever. She longs for her. Number two, she wants true companionship, but finding that is extra hard when you are in the spotlight all the time. It's not an easy life. And she feels like she's faced with this choice. It might be either real love or stardom and success. And whichever one she chooses, she's gonna be haunted by the road, not taken.

Mara Eller 22:07

To me it's a haunting, but also somehow fun. song. It has this edge, this softness at the same time, and I just think it's brilliant. It's one of my favorites on the album, I think. So I'd love to know

22:19

What connections with other songs in the album do you see? What parallels stand out to you about the lives of the various showgirls referenced in these first two tracks? What do you think Swift might be trying to say with her selections? What do you think is going on in the showgirls life more specifically during this chapter, particularly in her love life?

Mara Eller 22:36

And I do have writing prompts for you today. In fact, I have several. So you can choose one or do more than one. But you've got many to choose from. If you're working on memoir, writing about your own life, How do you chase fame in your own ways? what do you sacrifice in your pursuit of attention or adoration or acceptance? in what ways are you performing? Write about a time when you felt your worth depended on your performance or output. Who set that standard for you? Where did you learn that that's what it took to be admired or loved? And last for memoir, if you could talk to someone from the past who might understand what you're going through, who would it be and what would you ask them? try on that trope here of addressing a celebrity or someone from history and asking them about their experience and what they think about your life. And if you're a fiction writer, I've got three prompts for you as well. Number one, use. Do you think it's forever as the first line of dialogue in a story. And then you can go anywhere from there, see what comes up. Two, write about a moment when your protagonist, your main character, discovers someone she had trusted, doesn't actually love her or know her maybe. Write about when she realizes that it's all been an act, that sense of betrayal. So what happens and how does she feel? Could be a he. And third write about a protagonist who achieves everything she thought she wanted, but the cost is her freedom. So write about the moment she realizes her dream has turned into a cage. And that's it for today's lesson. Thank you so much for joining me here for this literary analysis. I hope it's been interesting and insightful. and we'll pick up next time with Opalite.

24:22

if you're loving these deep dives. Make sure to follow the podcast or come join the discussion on social media. My links are in the show notes. I'd love to hear your questions, comments, and insights. class is always about bringing you into the conversation, helping you to do your own thinking and come to your own conclusions, so I'd love to see you involved. Until next time, class dismissed.