On December 9th, Rolling Stone published a story that some saw as a bombshell: a network of coordinated, “inauthentic” social media accounts had a hand in the weekslong discourse that trailed the release of Taylor Swift’s recent album, The Life of a Showgirl. It was a big deal for those in the Swiftie/anti-Swiftie universe. Immediately following the record’s release in October, discussion of Showgirl was fan- and critic-driven — passionate but fairly calm. Listeners debated the meaning of songs, analyzed the flood of material for hidden meanings, and questioned whether the music was even good. Some fans took issue with...
Monitoring Antisemitism Intel
