Taylor Swift Makes Headlines After Winning Prestigious Award on Wednesday
After performing nearly 150 shows worldwide in 2024 during her record-breaking "Eras Tour," Taylor Swift has remained largely out of the spotlight throughout most of 2025.
However, her public appearance on Sunday alongside her boyfriend Travis Kelce and both of their families for Mother's Day may signal her return to the public eye — especially with fans still awaiting new music this year.
Swift, who is nominated for six awards at the upcoming American Music Awards on May 26, made headlines early Wednesday morning after being announced as the recipient of two major BMI honors.
The 35-year-old was named "Songwriter of the Year" for the second consecutive year and was also recognized for "Most Performed Songs of the Year," with hits like "Don't Blame Me," "Fortnight," and "Now That We Don't Talk" among the most-played tracks. Additionally, she received publishing awards for seven different songs.
"Big congrats to @taylorswift13, our 2025 #BMIPopAwards Songwriter of the Year — once again! With genre-defining hits like 'Don't Blame Me,' 'Fortnight,' 'Is It Over Now?' and so many more, Taylor continues to shape the sound of a generation."
While her success from 2024 is undeniable — and with more accolades expected at the American Music Awards later this month — Taylor Swift has continued to make waves in 2025 thanks to the staying power of her hit songs and albums.
On Tuesday, her 2020 album "evermore" saw a spike in streaming, jumping over 13% for the day and surpassing 300 million streams on Spotify in 2025 alone.
This makes "evermore" her 10th album to hit that milestone this year, despite none of the music being newly released. She remains the only artist to have 10 separate albums cross 300 million streams in 2025, and she accomplished it in less than 133 days.
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Time Magazine
39 minutes ago
- Time Magazine
Call Her Alex Isn't a Portrait of Alex Cooper—It's an Infomercial for Her Brand
In the breakout third episode of Call Her Daddy, the podcast's co-hosts, Alexandra Cooper and Sofia Franklyn, encouraged a male listener to track his crush's movements via Snapchat, advised a woman that there was no need to tell her boyfriend about her sugar daddy, and plotted to sell dirty Coachella shoes to foot fetishists. But the bit that really made 'Gluck Gluck 9000,' posted on Oct. 3, 2018, a classic was Cooper's lively and detailed description of the eponymous, supposedly game-changing oral sex technique. Six years and three days later, Cooper hosted an episode of the same podcast in which she posed to Kamala Harris, then the Vice President of the United States and Democratic candidate for President, questions about mental health, reproductive rights post- Roe, and the economic challenges facing young people. How did the Call Her Daddy that launched, not so long ago, as a chronicle of two 20-something Lower East Side roommates' X-rated exploits evolve into the ultra-mainstream Call Her Daddy of today? The short answer is that Cooper and Franklyn's cheerfully raunchy banter quickly attracted an audience of millions and just kept getting more popular, fueled by successive deals with the fratty platform Barstool Sports, then Spotify, and now a three-year Sirius XM contract reportedly worth $125 million. A more illuminating explanation for the show's expansion into a media empire would require an understanding of who Cooper—a solo act since Franklyn's departure in 2020—really is. The Hulu doc Call Her Alex presumably exists to offer such insight. But in just two scattered episodes (whose release as a series rather than a feature probably comes down to marketing), it's less a portrait of the podcaster than an infomercial for her brand. Directed by Ry Russo-Young (Nuclear Family, And Just Like That) and, crucially, produced by Cooper's company Unwell, Call Her Alex takes a form so typical of the authorized 21st century celebrity documentary, it's become a cliché. Behind-the-scenes footage of Cooper preparing for her first tour, which she's determined to make more exciting than the live tapings that comprise so many podcasters' events, is paired with a roughly chronological origin story. In the present, tension builds around troubled rehearsals of a program that includes musical numbers where Cooper is flanked by male dancers. The pressure to give her beloved listeners, known as the Daddy Gang, an unforgettable night seems insurmountable. An anxious Cooper seeks comfort from her unflappable husband and business partner, Matt Kaplan (a figure so adored by the Daddy Gang, some audience members carry giant cutouts of his face). Of course, as the trope dictates, last-minute disasters give way to an unequivocally triumphant opening night. The biographical portions can feel evasive—weirdly so, considering that messiness and candor are central to Cooper's brand—often swerving away from uncomfortable topics. She recalls escaping the pain of boys' bullying, as a skinny redhead, by bonding with other girls on the soccer field and making videos with friends. Then, suddenly, the awkward childhood photos are replaced by images of the perfectly proportioned and coiffed blonde she'd become by the time she matriculated at Boston University. There's no talk of how this glow-up might've affected her personal life or career, or the messages it might send to skinny redheads who worship Father Cooper, as she calls herself. The defining contradiction of Call Her Daddy, like Cosmo and the 'female chauvinist pigs' of Y2K pop culture, is its frequent implication that female empowerment requires catering to male desires. But Russo-Young never really interrogates Cooper's gluck-gluck feminism. Also conspicuously downplayed is the Cooper-Franklyn split, a perennial hot topic for the Daddy Gang. Talking heads who lived through it allude to a breakdown of the women's personal relationship as well as their professional partnership, as they renegotiated their initially meager Barstool contract—old news. Cooper doesn't have much to say about this. And while Barstool's controversial founder, Dave Portnoy, who also became a character in the contract drama, offers a few anodyne words of praise for Cooper in the doc, Franklyn is only glimpsed in archival footage. Anyone hoping to learn more about the end of the friendship, which isn't necessarily unreasonable for fans of a show premised on the intimacy of girl talk, will be disappointed. Still, Cooper is too savvy to put out a product entirely devoid of revelations. The morsel of news that started circulating in the days leading up to the series' release concerns the accusations of sexual harassment she levels in Call Her Alex against a since-retired BU soccer coach. Framed by Cooper's return to Boston for her tour, her story of a female coach who she says pried into her sex life and touched her inappropriately and used the students' scholarships to manipulate them—and of the university's alleged refusal to act on her scrupulously documented complaint—is infuriating. (Boston University has yet to comment on these allegations.) It also complicates Cooper's memories of soccer as a safe space and her choice to build a career around what is often euphemized as locker-room talk, though those aspects of the ordeal are barely explored. Instead, it's framed as yet another chance for Cooper to demonstrate her strength and tenacity. 'I was so determined,' she says in a voiceover that accompanies her stroll across an empty BU soccer field, 'to find a way where no one could ever silence me again.' Cooper is indeed a force—shrewd, ambitious, dynamic, hard-working. She knows her worth and fights for it. But that much has been obvious for years, to anyone with a casual awareness of her ascent to media-mogul status, as she's built an empire that now includes a media company (Trending), a podcast platform (Unwell Network), and an electrolyte drink (Unwell Hydration). The Daddy Gang certainly gets it. Which raises the question of who the audience for this documentary is supposed to be. Potential business partners, maybe? Watching Call Her Alex, at times, I felt as though I was being pitched a product: an empowered woman whose brand is female empowerment. All this marketing detracts from an element of Cooper's personality that is far more fascinating and rare and, I think, critical to her appeal than the stuff Russo-Young focuses on: she's great with people. The glimpses we do see of her interactions with fans are among the doc's highlights. When an audience member at one of her tour dates tearfully recounts how Call Her Daddy helped her cope with her father's death from cancer, Cooper calls her up to the stage, gets her a chair, sits at the young woman's feet, holds her hand, listens and reacts to every sentence of her story. Any performer could go through these same motions, but Cooper's care and curiosity—whether she's talking to a fan or a disgruntled employee or the most powerful woman in U.S. history—always come across as genuine. When she tells someone 'I f-cking love you,' which she often does, it sounds like she means it. This is probably why so many of her Gen Z listeners have likened her to a big sister. Yet she's something more complicated, too, a comforting but also aspirational figure, whose ugly-duckling-to-sex-goddess-swan transformation has left her with an unusual combination of empathy for the everygirl and the charisma to make that Daddy Gang diehard feel special. In a world that plays mean girls against mere mortals, she plays the part of the people's Regina George, her burn book replaced by an endless supply of sincere compliments.

Vogue
an hour ago
- Vogue
Why Are We So Obsessed With the Idea of Taylor Swift and Travis Kelce Getting Married?
I like Taylor Swift and Travis Kelce together as much as the next person (who's not an avowed anti-Swiftie, that is): After years' worth of excellent yet depressing songs about her romantic travails, it's kind of wonderful to see the pop star in what appears, to the untrained eye, to be a happy and healthy relationship. That may be why it's so frustrating to me every time the 'Are Taylor and Travis endgame? Are they engaged???? Are they already married??????' discourse cycle starts up again, as it did this week via Page Six. (The outlet's 'evidence' that the couple may have already wed? A table assignment made out to 'Taylor and Travis Kelce' at Chicago Bears player Cole Kmet's wedding.) Obviously, if all this turns out to be an actual thing, I'll eat my words (and plenty of crow, too). But as of now, I have to wonder why we, as a society, are so invested in the idea of Swift and Kelce becoming a married couple. On the surface of it all, it might not seem that deep—people like beautiful pop stars and handsome athletes and like to see them spend their lives together!—but I can't help reading something a tad darker into the full-blown obsession that started almost immediately after the two went public as a couple in 2023. It's now 2025, and we have ample evidence (some of it provided by Swift's own lyrics!) that a woman is worth far more than the bling on her left-hand ring finger. Still, critical commentators and maritally minded Swifties alike appear determined to distill Swift's narrative down to whether or not she's settling down—or already settled down with—her boyfriend. But, please: They're full-grown adults, and this isn't a Jane Austen novel, so can we please move beyond the marriage plot? There's some substantial cultural precedent to romanticizing a fan-favorite 'fairytale wedding,' but at the risk of sounding cynical, those don't always end well. To wit: Over 750 million people watched Princess Diana float down the aisle to wed the then Prince Charles in 1981, and their actual union was, well, one of the original and defining marital hot messes. ('There were three of us in this marriage, so it was a bit crowded,' remember?) All the nuptial pomp and circumstance in the world didn't create an actual, lasting bond for Diana and Charles, so why would our fever pitch of parasocial expectations around Swift and Kelce's potential marriage in any way set them up for success? If we love Swift as much as so many of us claim we do, shouldn't we just…leave her and her man alone to find their own way to the altar (or not)?


Fox News
3 hours ago
- Fox News
Taylor Swift fears 'imminent harm' from ex-convict who allegedly visited her home carrying potential weapon
Taylor Swift has been granted a restraining order against an ex-convict who has allegedly not left her alone. On Friday, Swift filed for a temporary restraining order against Brian Jason Wagner after he allegedly came to her Los Angeles home several times over the past year. "Mr. Wagner made various statements about living at my property (not true), being in a relationship with me (not true), believing I am the mother of his son (not true), and needing to see me in person, all of which are untrue and disconnected from reality," Swift wrote in the legal declaration which was obtained by Fox News Digital. In the legal document, Swift claimed that Wagner began showing up at her Los Angeles residence in 2024 and made several visits in July of that year. "On at least one of the occasions in July 2024, Mr. Wagner was carrying a glass bottle that could have been used as a weapon," she wrote. According to Swift, Wagner returned to her home last month and "was there checking on a friend (again, this is entirely untrue)." Swift's security detail ran a background check on Wagner and discovered that he first began attempting to contact the pop star while he was incarcerated. He would write Swift letters "at length about his infatuation with me, a romantic relationship with me (which does not exist), and other completely fabricated stories about his involvement in my personal life," according to the document. The documents also state that Wagner had updated his home address on his driver's license to her Los Angeles residence. According to the document, Wagner sent her team "hundreds" of threatening emails and tried to have her personal mail sent to his home. "I have no relationship with Mr. Wagner and I have never met nor communicated with him," Swift wrote. She explained that his recent visit in May prompted her to act on a restraining order. "The fact that both of these recent visits and Mr. Wagner's inappropriate and threatening communications to my staff about me have escalated in recent weeks creates a fear of imminent harm," she wrote. A judge in Los Angeles granted Swift the temporary restraining order.