Taylor Swift Accused of Manipulating Her Fanbase Amid Scooter Braun Drama in New Documentary

Taylor Swift has been accused of manipulating her fanbase in the new Max documentary, Taylor Swift vs. Scooter Braun: Bad Blood. It looks at both sides of the battle over her masters in two parts – “Scooter’s Version” and “Taylor’s Version” – with the former music manager claiming the “Karma” singer knew more about the sale than she publicly stated.

While Taylor, 34, was aware that her masters to her first six albums would be sold along with the rest of the Big Machine catalog, she claimed she didn’t know that Scooter, 43, was the person making the $330 million purchase via his Ithaca Holdings company.

The filmmakers pointed out that the “Fortnight” singer must have known about Scooter’s involvement since her dad, Scott Swift, was a minority shareholder in Scott Borchetta‘s Big Machine Records, which signed Taylor as a teenager. He made $15.1 million when Scooter purchased the record label in 2019.

The documentary took issue with Taylors claims she was “silenced” amid the drama over her masters, reminding viewers that she didn’t receive a “gag order” and was under the same standard non-disclosure agreement rules as Scooter.

In 2020, Scooter was in the process of selling Big Machine and Taylor’s masters to Shamrock Holdings a little over a year after the purchase. Before the sale, Taylor said she was negotiating to buy her albums back from him but pulled the plug after claiming she would have been forced to not be critical of Scooter in any future public comments.

“Scooter’s team wanted me to sign an ironclad NDA stating I would never say another word about Scooter Braun unless it was positive, before we could even look at the financial records of BMLG (which is always the first step in a purchase of this nature). So, I would have to sign a document that would silence me before I could even have a chance to bid on my own work,” she told fans at the time.

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The filmmakers claimed Taylor did nothing to stop her fanbase from attacking Scooter, who said he and his family received death threats over his drama with the Grammy winner.

Even after the documentary’s release, the “Karma” singer’s fans claimed it favored Scooter in posts on X.

“Watching this documentary it’s pretty apparent it is skewed towards showing Scooter in a positive light and Taylor in a not so positive light and I think it’s complete bulls–t. Especially using women in all the interviews to carry the message. Gross. Keep rising Taylor,” one fan wrote on June 22.

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Another user posted, “Scooter is so pathetic LMAO he got his team to make a documentary biased towards him about when he stole Taylo’s music like my dude everyone hates you now cause you got exposed for the horrible person you are LEAVE you won’t change anyone’s mind by trying to manipulate information.”

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In response to the documentary, Taylor’s team released a statement that read, “None of these men will ever be able to take anything away from Taylor’s legacy as a songwriter, singer, director, philanthropist and advocate for artists’ rights. Taylor has completely moved on from this saga, and has turned what started out as an extremely painful situation into one of the most fulfilling endeavors of her life.”

When Taylor’s masters were sold in 2019, she was under a new contract with Universal Music Group that allowed her to own her masters she recorded with the label. After Shamrock purchased her masters from Scooter, she went on to ​rerecord at least four of her first six albums as “Taylor’s Versions,” to which she is the legal owner. So far, she has released Fearless, Red, Speak Now and 1989, with fans still anxiously waiting for the new versions of 2017’s Reputation and her self-titled 2006 debut album.