Next, we are treated to a dazzling aquatic-themed dance sequence that pays homage to the Busby Berkeley-choreographed “Human Waterfall” number from the 1933 film Footlight Parade. This serves as yet another reminder of Ophelia’s drowning, while the presence of lifebuoys here signifies Taylor’s metaphorical salvation from her own tragic fate. Following this visual spectacle, Taylor reappears adorned with a sparkling blue tinsel feather boa, a delightful echo of the stylish jackets donned by her and the dancers during the Eras Tour finale.
The Art of the Showgirl
In the forthcoming scene, we encounter a clapperboard displaying the title Sequins are Forever, a clever twist on “Diamonds Are Forever” and Marilyn Monroe’s iconic number “Diamonds Are a Girl’s Best Friend.” The clapperboard also mentions “featuring Kitty Finlay.” Kitty is the central character in the song “The Life of a Showgirl,” while Taylor’s late grandmother Marjorie Finlay, for whom she penned the song “Marjorie,” was an opera singer—another instance of a showgirl in her own right. The board notes “Take 100”—a nod to the lyric “keep it 100” in “The Fate of Ophelia,” as well as the sum of Taylor’s cherished number, 13, and Travis’s jersey number, 87, totaling to 100. As Taylor shared on New Heights, “That’s numerology.”
When Taylor next appears, she sports dark hair reminiscent of Elizabeth Taylor, paired with violet eyeshadow. (Elizabeth Taylor was well-known for her violet-hued eyes, and in the album’s second track, “Elizabeth Taylor,” Swift sings, “I’d cry my eyes violet.”) Behind her on a chalkboard, the abbreviated titles of songs from The Life of a Showgirl are visible alongside their corresponding track numbers, with “7. AR” notably highlighted as it corresponds to track seven, “Actually Romantic.” There’s also a Sequins are Forever poster featuring Taylor, showcasing the names of Sabrina Carpenter, Max Martin, and Shellback.
She then ascends into the rafters, transforming into a sequin-clad showgirl reminiscent of Singin’ in the Rain—albeit dressed in orange, naturally the album’s predominant color.
