Fly-on-the-wall portraits of pop-music stars used to be dominated by, you know, pop music. The life and personality and woe-is-me-I’m-caught-in-the-media-fishbowl spectacle of the star herself was …
Taylor Swift, Joe Alwyn, Bobby Berk, Karamo Brown, Tan France, Calvin Harris, Joel Little, Kamilah Marshall, Melanie Nyema.
That’s why “Miss Americana” is something of a paradox. Watching the movie, you know you’re getting a controlled and sanded-off confection of pop-diva image management, one that’s going to leave anything too dark or messy or random on the cutting-room floor. Yet what matters is that the things wesee ring true. In “Miss Americana,” the vision Taylor Swift presents of herself is just chancy and sincere enough to draw us in.
Early on, Swift talks about how she grew up wanting to be the good girl, and how that translated, in her country-music days, into craving the adoration of fans, always wanting that pat on the head. Then we cut to 2018, when she’s lolling on her couch, waiting for her manager to call the morning the Grammy nominations are announced. She has already won for album of the year, but on this particular day, her 2017 album “Reputation” mostly gets snubbed.
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