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‘The Buccaneers’ picked the perfect Taylor Swift song
Did you hear “Nothing New” by Taylor Swift and Phoebe Bridgers in “The Buccaneers”? Here’s why it’s perfect.
As Taylor Swift sings, “People love an ingénue,” and it’s been true in for centuries.
Applicable to 1870 and 2023 alike, the lyric is taken from one of the pop monarch’s previously unreleased “From the Vault” collections, one that appears in Apple TV+ series The Buccaneers, — and it’s one of the very best needle drops of a year defined by Taylor Swift needle drops on TV.
From Richie’s triumphant car rendition of “Love Story” in The Bear to Heartstopper‘s perfect use of “Seven”, Swift songs continue to punctuate pop culture this year beyond her record-breaking tour. As Mashable’s Elena Cavender writes, “If The Bear and Heartstopper prove anything it’s that Swift’s gifts as a storyteller can add emotional weight to a singular moment. When well-placed, it not only draws her fans into a show, but elevates the whole story.”
In The Buccaneers, Swift and Phoebe Bridgers’ vulnerable, frank, and stunning duet, “Nothing New,” from Swift’s 2021 recorded release of Red (Taylor’s Version), features in the series’ first episode. The song takes over two connected scenes: one featuring the newly wed and heavily pregnant Lady Conchita Marable (Alisha Boe), confiding to to her best friend Nan St. George (Kristine Frøseth) her fears of motherhood and being disregarded by her husband; the other a debutante ball, the Queen’s Ball, in fact.
Rows and rows of young women in white gowns line up to make their debut into polite society, fixing their jewellery and feathered tiaras, hopeful of making a dazzling first impression. Much to Nan’s horror, each stands demurely equipped with a numbered paddle, which the men in attendance use to select their favourite debutantes. “They’re like cattle,” Nan observes.
Like Bridgerton, the Katherine Jakeways-created, Susanna White-directed series The Buccaneers leans on pop music to imbue scenes of the period drama with a modern, feminist sensibility (the soundtrack was produced by Stella Mozgawa of Warpaint). But Swift’s music seems to really land in these period dramas; Bridgerton itself wielded a Vitamin String Quartet version of Swift’s “Wildest Dreams” for one of its more memorable raunchy montages.
Jinny (Imogen Waterhouse) and Lizzy (Aubri Ibrag) in “The Buccaneers.”
Credit: Apple TV+
Credit: Apple TV+
In The Buccaneers, Swift’s “Nothing New” perfectly captures the expectations faced by young women and girls on the cusp of adulthood, and the legitimate, youth-obsessed, patriarchy-driven fears around growing older and feeling overlooked. Swift reportedly penned the song when she was 22, writing in a 2012 diary entry that the song was about “being scared of aging and things changing and losing what you have.” As her lyric repeats, “How can a person know everything at 18 but nothing at 22?” Of the song, Bridgers told the Los Angeles Times, “I was a lot more worried about my youth and getting discarded when I was 21.”
In a 19th century London society context in the series, the lyrics take on a wider application, especially for young women then expected to be married around the age of 20 as a means of family advancement and security. Swift laments, “Lord, what will become of me / Once I’ve lost my novelty?” and it’s a predicament deeply felt by Conchita within her fresh marriage, but also other married women within the show. As she’s attempting to “fit in” in conservative England while craving attention from her new husband Lord Richard Marable (Josh Dylan), Conchita constantly doubts herself, worrying Richard has lost interest in her at best, is ashamed of her at worst. And it’s all teased in Swift’s lyrics: “Will you still want me when I’m nothing new?”
Conchita (Alisha Boe) heads to the altar.
Credit: Apple TV+
Credit: Apple TV+
Throughout the series and in Swift’s song, the female characters go from growing up to breaking down, crying themselves to sleep, and helping each other find the way through a society that only wants to make them “behave”. Public displays of emotion are deeply frowned upon. The song also highlights society’s time limit on emotional expression for young women, as Bridgers sings, “How long will it be cute / All this crying in my room / Whеn you can’t blame it on my youth.”
In a more literal sense, there’s also one particular lyric in the song that foreshadows a storyline in The Buccaneers for one of the young women debuting: “They tell you while you’re young / ‘Girls, go out and have your fun’ / Then they hunt and slay the ones who actually do it.” On this very lyric, the camera pauses on Lizzy Elmsworth (Aubri Ibrag), a confident, smart young woman who will later endure a traumatic experience at the hands of a powerful man during a game of hide and seek.
Seeing a moment like this on Apple TV+ is indicative of the platform’s move toward a new audience: young women. And the timing could not be more transparent, in a year of Swift’s Eras and Beyoncé’s Renaissance tours and Greta Gerwig’s Barbie movie. As IndieWire’s Erin Strecker writes, “Until now, the streaming service hasn’t targeted young female viewers in the same way that Netflix or Prime Video has. In a year when popular culture started taking girlhood seriously (or at least realized there was money to be made by doing so), this show arrives in a moment when it could break big in a way that Apple’s fun Dickinson, clearly of a similar ilk, never fully did.”
Dropping a pop song in a TV show doesn’t have to be mind-blowing; it can simply sound great. But The Buccaneers‘ use of Swift and Bridgers’ duet of youth, innocence, and expectations is one of the more perfect on screen this year, elevating the themes of the show through a modern lens.
How to watch: The Buccaneers is now streaming episodes 1 to 3 on Apple TV+, with a new episode every Wednesday.
‘The Curse’ review: Emma Stone, Nathan Fielder, and Benny Safdie are here to break your brains
“The Curse” stars Emma Stone and Nathan Fielder as a couple with an upcoming HGTV show, and Benny Safdie plays their producer.
From the bizarre business schemes of Nathan for You to the mind-melting experiments of The Rehearsal, Nathan Fielder has always had a knack for interrogating the “reality” behind reality television. Now, he teams up with Benny Safide — co-director of nail-biting films like Uncut Gems and Good Time — to continue breaking our brains with the new scripted series, The Curse.
Starring Emma Stone, Fielder, and Safdie, and produced by A24 and Showtime, The Curse defies easy categorization. It’s the perfect storm of wince-worthy comedy, HGTV spoof, and surreal (and possibly supernatural?) drama, with plenty of commentary on everything from race to social media thrown in for good measure. As tough as it can be to watch at times — I dare you to go five minutes without cringing — there’s no doubt that The Curse is one of the funniest, strangest, and most unsettling shows of the year.
What is The Curse about?
Nathan Fielder, Emma Stone, and Tessa Mentus in “The Curse.”
Credit: Richard Foreman Jr. / A24 / Paramount+ with Showtime
Credit: Richard Foreman Jr. / A24 / Paramount+ with Showtime
Stone and Fielder play Whitney and Asher Siegel, a married couple at the center of an upcoming HGTV show awkwardly titled Flipanthropy. (Say it three times fast.) Their goal is to build eco-friendly homes in the city of Española, New Mexico, and “revitalize” the community by bringing in upscale coffee chains and jeans stores. It’s textbook gentrification, but Whitney and Asher want to distance themselves from that label. In Whitney’s perfect world, these new businesses will only employ locals, everyone will buy her passive homes, and she and Asher can subsidize any higher rent Española’s current residents may face. “Everybody’s a winner,” Asher tells a local reporter (Tessa Mentus) when she brings up the dreaded “G word.”
Of course, Asher’s blithe statement couldn’t be farther from the truth. The new businesses are more a front for Flipanthropy than they are new staples in Española, and Whitney’s plan to subsidize rent is just a Band-Aid lazily slapped on America’s much bigger issues. Then there are the passive homes themselves, with their garish mirrored facades that Whitney proudly says, “reflect the community.” If anything, the constant reflection is more of a visual nuisance for Asher and Whitney’s neighbors. It doesn’t help that the deceptive mirrors lead to the deaths of birds who fly smack dab into the walls. When bird corpses are a common occurrence around your house, maybe it’s time to rethink whether it’s as environmentally friendly as you claim it is.
Capturing Whitney and Asher’s so-called service work on camera is their producer Dougie Schechter (Safdie). He’ll try anything to make the show as entertaining as possible, no matter the ethics. Take the very first scene, which sees him pouring water on a woman’s face to create the illusion of a tearful response. It’s just one of many exploitative tricks he’ll use on his subjects in order to shape a new reality for the camera. Whitney and Asher are initially put off by these methods, unable to see that they, too, are exploiting the residents of Española.
One of Dougie’s filming plans leads us to The Curse‘s titular malediction. When he sees a young girl named Nala (Dahabo Ahmed) selling sodas in a parking lot, Dougie tells Asher to give her some money, thinking it’ll make good B-roll for the show. Asher hands her the only cash he has on him — a $100 bill — and immediately tries to take it back once they’ve stopped filming. Nala, understandably upset by this turn of events, proceeds to fix her gaze on Asher and deliver three fateful words: “I curse you.”
From there on out, things are… off with Asher, Whitney, and the production. There’s conflict with potential home buyers, complications with Asher and Whitney’s plans to conceive, and even discord in their marriage. Are all these bumps in the road Nala and the curse’s doing? Or were these problems always there, and did Asher and Whitney only start to notice them with the threat of a curse hanging over their heads? (Notably, the two also argue about whether it’s racist to assume Nala is even capable of cursing them.)
The Curse skewers reality TV with surreal stylings and a tinge of horror.
D.J. Arvizo, Nathan Fielder, Benny Safdie, and Oscar Avila in “The Curse.”
Credit: Richard Foreman Jr. / A24 / Paramount+ with Showtime
Credit: Richard Foreman Jr. / A24 / Paramount+ with Showtime
The Curse plays with just how real Nala’s curse is over the course of its 10 episodes. Strange events on the set of Flipanthropy are commonplace, yet they could just as easily be attributed to human error as to magic. However, The Curse doesn’t rule out the supernatural outright. Horror-adjacent imagery appears throughout, from the dead birds to long shots tracking characters’ movements that would be right at home in a slasher. Discussions of troubled pregnancy invoke the subgenre of motherhood horror, and composer John Medeski (working with music producer and frequent Safdie collaborator Daniel Lopatin) crafts a soundscape that wrings unease out of even the most mundane moments.
The ambiguity of the curse plays into the show’s larger fascination with how we engineer and interact with false narratives. Reality TV serves as the prime source of artifice here, with Asher and especially Whitney crafting how their marriage and their work comes across onscreen. If enough people believe the fantasy they’re being sold, does that make it true? And if you spend your relationship living for the camera, how can you tell what’s real or not?
To further hammer home these ideas of warped reality, The Curse makes liberal use of mirror shots and distorted mirror imagery. It pairs these with shots of conversations framed in windows or doorways, or filmed from a great distance, lending the show a voyeuristic quality. What are we truly meant to be seeing?
The Curse‘s main characters will make you cringe and laugh (but mostly cringe).
Emma Stone in “The Curse.”
Credit: Richard Foreman Jr. / A24 / Paramount+ with Showtime
Credit: Richard Foreman Jr. / A24 / Paramount+ with Showtime
The Curse‘s preoccupation with artifice manifests itself most in Whitney. She cares so much about her self-image that she forces Asher to recreate their cutest moments beat-for-beat for her Instagram followers. Her activism is a facade as well — although she may not be self-aware enough to realize that. She fervently claims to support Española’s residents, including the Pueblo people of New Mexico. However, she frequently uses and tokenizes the Native Americans she meets, like her artist friend Cara Durand (Nizhonniya Luxi Austin). In a show full of moments that make you want to crawl out of your skin, Whitney’s interactions with Cara are among the most horrifying.
Asher is no stranger to fantasy either, with The Curse relishing unpicking his self-imposed ideas of masculinity. Between jokes about penis size and being called Whitney’s “jester” instead of her “king,” Asher goes through the humiliation gauntlet with a brave face that is always seconds from slipping. Then there’s Dougie, whose sleazy producer persona masks a deeper sadness and some wildly unhealthy coping mechanisms.
With these three characters and their conflicting senses of self firmly in place, The Curse simmers with an at-times unbearable awkwardness. Will you feel a combination of embarrassment and disgust toward Whitney, Asher, and Dougie’s actions? Yes. Will you occasionally recognize yourself in them? Horrifyingly, also yes. When broader moments of comedy arise — like the aforementioned penis jokes — they come as a welcome, tension-breaking relief. Yet The Curse refuses to let you get comfortable for long. Often, these laugh-out-loud jokes will resurface down the line in an even more squirm-worthy scene, as if The Curse is wielding your own prior comfort against you.
Emma Stone, Nathan Fielder, and Benny Safdie make for an excellent trio in The Curse.
Emma Stone, Nathan Fielder, and Benny Safdie in “The Curse.”
Credit: Richard Foreman Jr. / A24 / Paramount+ with Showtime
Credit: Richard Foreman Jr. / A24 / Paramount+ with Showtime
The Curse wouldn’t work half as well as it does without the total commitment of Stone, Fielder, and Safdie, who make for an unlikely (but well-matched) supergroup. Stone has already proven her comedic chops ten times over with films like Easy A and The Favourite, but The Curse may be her funniest turn yet. Whitney’s eco-influencer jargon is gold in Stone’s hands, but she blends it with a discomfiting sense of artificiality completely in sync with the tone Fielder and Safdie have created. It’s pitch-perfect work, and when paired with the release of Poor Things, it helps mark a banner year for Stone.
In a departure from shows like Nathan for You and The Rehearsal, Fielder is not playing a version of himself but rather an entirely new character. Still, you’ll recognize elements of his prior performances in Asher’s awkward deadpan. He’s a total punching bag for the show, with Flipanthropy focus groups wondering why Whitney would even marry him. That disbelief makes it all the funnier — and uncomfortable, naturally — when Asher inevitably loses his cool. Prepare yourself for some angry, desperate rants from Fielder that will leave you speechless, and some especially inspired physical comedy in later episodes.
As Dougie, Safdie is slippery and scummy, the ideal contrast to Whitney’s earnest(ish) idealism. While shooting Flipanthropy, he reads as a dirtbag Machiavellian schemer looking to get the perfect shot — even at the expense of people like Asher. But in his personal life, he’s a flailing mess. Here, Safdie must shoulder some of The Curse‘s most painful revelations, resulting in tragi-comic scenes like a first date gone off the rails.
These three off-the-wall performances combine with The Curse‘s ambitious genre-bending to make for one of 2023’s most original TV series yet. It’s densely layered with bizarro comedy, bold set pieces, and pertinent social criticism. Yes, Asher, Whitney, and Dougie’s convictions may be hollow, but The Curse is filled to the brim with things to say — and some absolutely wild ways to say them.
Boys World reveal their internet obsessions: Bada Lee, manifestation, Petra Collins, and more
Girl group Boys World shares their latest obsessions, including Bada Lee, Petra Collins, perfectly cooked salmon, and manifestation.
For the past three years, Boys World have made moves as a modern-day pop group remixing the sounds and aesthetics of ’90s and 2000s-era R&B. The quintet’s new single, “Gone Girl,” comes on the heels of a national tour, during which the girls admitted they were too busy, you know, being pop stars to do much else.
“I haven’t watched shit, to be honest with you,” Makhyli confesses to Mashable when we ask for her recent watches, “The second I get home I just want to talk with these girls or knock the fuck out.”
But Boys World — Olivia, Lillian, Elana, Makhyli, and Queenie — deliver nonetheless, gushing for over an hour about their favorite artists, recipes, and online obsessions. These pop stars, it turns out, are the sweetest, most candid pop culture junkies around.
Olivia
Olivia: I’ve followed Petra Collins’ work for a while, and I think her visuals are always incredible. The way they executed this whole music video was just so refreshing and very pleasing to my eyes, and I love them working together. The Glee reference of a slushie being thrown on her… I love it when people use stuff that happened in movies and put it in music videos. I love the song. It grew on me a lot.
This is kind of rhetorical, but do you guys want to work with Petra Collins ever?
All: Yes!
Were you into Petra Collins when she was at Rookie?
Olivia: Yes! Rookie mag! I am so upset it’s gone. I have three copies of each volume of Rookie: two I cut up for my journals and one I didn’t touch.
Makhyli: She’s a big collector.
Olivia: You know Mini Brands? I love them! I collect the Disney ones, the food, the little fashion ones. I got so lucky, I got a bag with tiny makeup brushes and a blush. I also have a tiny grand piano on the shelf in our living room, and it has a little stool and sheet music and it opens up. It’s adorable.
What do you love about this Bodies Bodies Bodies edit?
Olivia: It’s one of my favorite movies of all time. I’ve gotten to the point where I can quote it like “Mean Girls.” All of Rachel [Sennott’s] lines, the way she delivered them, make me crack up every single time. If I was ever an actress, I would want to have that kind of role.
A lot of you acted as kids, right?
Makhyli: I did musical theater
Elana: I was on a show called SuperWings. And I was also on an American Girl doll YouTube show.
Olivia: We need to all act together.
Makhyli: To be on a show together in general.
Did you guys ever watch S Club 7? They were a British pop group that had their scripted TV show in the early 2000s.
Olivia: No! We’ve never heard of them.
I highly recommend it. Makhyli, what musicals were you into?
Makhyli: Everything. Beauty and the Beast, The Little Mermaid, Dear Evan Hansen, Annie, Hamilton, Freckleface Strawberry.
Elana
Elana: I love SZA’s new music video.
Makhyli: Ah! I can’t even talk about it.
Elana: I love that album, that got me through winter. SZA has such a unique voice. She’s so talented, and I love her music. So I love watching her music videos. And this one features Justin Bieber.
Queenie: His fine ass.
Makhyli: He was my first CD.
Queenie: My ex-girlfriend has a blanket of him. She has a toothbrush that sings his songs.
Olivia, I read you ran a Dolan Twins Instagram fan page.
Olivia: Yeah, I would tweet as if I was this one pink hat they wore. And then the Dolan Twins were like, “Oh, this is cool.” They will notice me a lot, retweet my tweets, quote them, whatever. When they had a tour I went, and that’s when I was like, “OK, this is when I’m going to show my identity. I’m going to make this my moment. Today’s my reveal. I want you to know who the pink hat is. Now come find me.” And then they knew who I was. Then I started promoting my singing and covers to my fan page audience, and it turned into a career.
Elana: Ice Spice is doing so well. And her personality intrigues me. And she’s from New York. And I just love that. She seems so down to earth. So I was like, “Hey, why not put this on while I do my makeup?”
Queenie: Her personality is showing a lot more now.
Elana: She’s so cute, she seems sweet. I think we’d be friends. It’s so nice to see people around our age doing so well, it’s exciting. And I just like the way she talks, the sound of her voice. It reminds me of home because I’m from Queens. [In this interview] she talks about how she’s touring so much and she’s in different countries so it gets hard to stay in touch [with family and friends].
Do you guys relate to that?
Makhyli: Oh, yeah.
Elana: At the moment definitely [because we are on tour ourselves]. And we also live in LA and some of us have family in different places. So I relate to that.
Is there anything else you’ve been loving lately?
Elana: My favorite YouTuber right now is Monet McMichael. I freaking love her. I found her on TikTok, and now I watch her on YouTube. She should just she seems so sweet. I love to watch people and I’m like, “Oh, I probably would be friends with them.”
Queenie
Queenie: OK, so this salmon. We were preparing for our first week of tour rehearsals, and every day was, like, five hours. I was like, “OK, I need to meal prep.” And I also wanted to save a little bit of money so I wouldn’t have to order anything. I was just scrolling on TikTok, and I found this recipe. I have never made salmon, ever. And so I was like, “OK, fuck it. Let me try something.”
It took me three hours. I was just locked the fuck in — in the kitchen mashing the potatoes, putting it in the oven while setting up the oven, boiling it, and all of a sudden now the salmon’s sizzling, and now I have to make the soy glaze for it. I’m like a fucking chef running around. And then I keep forgetting things. When I tell you the best fucking salmon I ever ate in my entire life. This recipe is insane. I was like, this is illegal. And then the girls’ reactions to it gave me so much confidence.
Olivia: This is the best thing I’ve ever had.
Queenie: And Elana doesn’t even like salmon.
Elana: I don’t but I would eat that every day.
‘This recipe is insane.’
Credit: YouTube/@CookingWithTammy
Credit: YouTube/@CookingWithTammy
Do you cook for the girls often?
Queenie: Not often but I make them Filipino dishes sometimes. The most important one that these girls love is my Filipino spaghetti. And like if I don’t make it my mom usually comes [over] and she’ll make it.
Olivia: What’s that soup?
Queenie: Sinigang. I can’t wait to take them to the Philippines, both on tour and for fun. It’s a different world. I’m not the type to like to go [to places] as a tourist, go to resorts. I feel like if you’re gonna go to another country, experience the local parts, the actual neighborhoods. It’s important to see those things when you go to another country, and not just like the rich areas.
Where would you suggest someone go for their first time in the Philippines?
Queenie: Manila, just because that’s the [main] city. Then [go] anywhere that you can go island hopping because it’s the most beautiful thing. And I feel like you get both worlds there. Because anywhere you travel for island hopping you have to go through mountains and you have to see nature, sometimes you have to fly to it. So it’s just a whole experience. Also, go to the Mall of Asia, one of the biggest malls in the world.
Queenie: I started “Street Woman Fighter” because it’s huge in the dance community in general. JAM Republic is one of the groups that have joined who are like from the U.S. And then there’s this one girl Bada Lee, who everyone’s geeking over saying that she’s fucking fine, and I can abide by that because she is. The way she dances… chef’s kiss.
[Watching her] I am mesmerized. I wish I could dance like that. Looking at people who are at that level is just mind-boggling to me. I love staying updated with the dance battles, and I wish I could be there one day.
Lillian
Lillian: I’ve been a fan of Ari since she came out with this album. And so it was so fun to see her do this 10-year anniversary and remake it as she would do it now. The difference in her vocals… they’re in their prime time right now. Even her tone is a little bit different, I think because of filming Wicked. And people are saying “I can understand what you’re saying now.”
Lillian: I love to put [videos] on when I do my makeup and hear other artists talk about their experiences. You can always learn from it. I just love Victoria, like she’s just the sweetest, and her voice is so nice to listen to. She’s so soft-spoken and was talking about how she grew up shy, and I relate to that a lot. But she’s done all these amazing things and been in all these crazy rooms with crazy artists, and she’s worked on some of the biggest hits. Now she’s finally honing her artistry, which is cool because I love her music, too. Her new album is really good.
Queenie: If I were a solo artist in the future, she’s like the epitome of what I would love to do for a video, like the masc/femme of “On My Mama.” That’s literally what I want to do,
She was also talking about manifesting, that she had been doing it since she was little.
Lillian: She also talks about new motherhood. I love it when people talk about pregnancy or postpartum, what you can go through that’s not so fun. Because I feel like people don’t talk about that much. And then women get pregnant, and they’re like, “This is like the worst time of my life but also the best,” and it’s just very confusing.
Victoria notes how it’s really important to always go up to the mother and give them attention and ask about how they’re doing because most people will just go straight to your belly or the baby. So you just feel invisible, [even though] being the mother to this child is like the best thing in your whole life. So it’s conflicting feelings, and people need to understand because it happens every day.
Makhyli
Makhyli: I’m super into affirmations and manifestation. It’s been big for me since I was tiny. It’s kind of like I grew up on my mom’s side with spirituality and affirmations, and it always just stuck with me. My dad was religious but my mom was spiritual, so I felt I grew up just hating what my mom believed because my dad would be talking in my ear, right?
But then I was like, “Oh, wait, this is sick. I love this. Give me the sage, give me the crystals.” I found what I believe in, who I am at my core. And now I just take it with me everywhere because I feel like [it resonates with me] more. It’s the one thing in life that can always give you hope. Manifesting is something that I can always look forward to no matter where you are in your life, even if you’re at your lowest of lows, you can always manifest something better. That’s what always gets us through.
Religion is finding faith in something else. And manifesting is finding faith in yourself. You’re like a renewable resource. What age were you like, ‘I feel confident that this is actually who I am.’
Makhyli: I think we all manifested being here, but I don’t think I knew that’s what it was like. When I was tiny, like seven, my mom was like, “OK, so when you’re older and go to college…” and I was like, “I’m gonna be on tour.”
And she was like, “OK! I won’t ask you again, I won’t push you.” And she helped me get where I am now. I owe it all to her. She used to be our house mom for a while because I was the youngest. And she’s always been pushing me to work hard and she likes me to be independent, too. But I also call her if I’m like, “What brand of toothpaste do I get?” Ever since I was small, she’s been my best friend. My dad was never really involved. Man, what’s in the air! The last two days we’ve been getting so much closer.
Are all of you guys getting closer?
Makhyli: We’ve been talking so much. I feel like we’re together all the time and sharing a room, we’re up at night. We share a house, but this has brought us back to when we first joined the group and we had bunk beds and we shared one room.
Mom Will Love These Gift Ideas, No Matter Your Budget
I love browsing online and getting inspired (and let’s be honest, I always end up adding a few things to my own shopping cart 🙂 so I wanted […]