Now that we've all had a week of midnights to listen to and analyze Taylor Swift's new album The Tortured Poets Department, some consensus seems to be building. While the fan response has been record-shattering and overwhelmingly positive, the music critic community seems to have another opinion — that Taylor Swift has entered her oversharing era.

While Swift chose to post a link to a glowing review of the album in Rolling Stone, along with the caption, “🤍And that’s the closest I’ve come to my heart exploding 🤍” many other major entertainment news outlets were less affectionate — and echoed a recurring theme that Swift may be guilty of sharing too much information about herself with her listeners this time around.

It's obvious why she might feel like she should — with us as a society clinging to her every word and movement this past year during her globe-trotting Eras Tour and whirlwind romance to Chiefs' star Travis Kelce.

But heady, trusted music critics seem to largely agree that Swift's focus has become too internal and self-obsessed on the 31 tracks of The Tortured Poets Department.

The Wall Street Journal rock and pop music critic Mark Richardson laments that “even as everything about Ms. Swift’s career has gotten bigger over the past five years, the world inside her songs has shrunk.”

Richardson brings up specific lines from the songs Fortnight and Guilty as Sin? that seem to not-so-subtly reference her short-lived, tumultuous relationship with The 1975's frontman Matty Healy. Richardson brings up the point, “Inside information like this is all over the record, which is nothing new in pop or in Ms. Swift’s oeuvre. But what was once a sprinkling of lore to occupy rabid fans now seems to be the whole point.”

He acknowledges the fact that Swift is “a celebrated lyricist, for good reason, who occasionally—playfully—overstuffs her lyrics,” but he goes on to suggest “this album takes this tendency to an unwelcome extreme.”

Similarly, the New York Times review called The Tortured Poets Department “a curiously insular album, often cradled in the familiar, amniotic throb of Jack Antonoff’s production.” Indeed, many reviews noted that Swift's collaborations with her two main producers on this album, and of the past decade — Jack Antonoff and Aaron Dessner — may have grown stale and run their course creatively.

The Times reviewer, Lindsay Zoladz, further notes that Swift's lyrics occasionally “feel unrestrained, imprecise and unnecessarily verbose. Breathless lines overflow and lead their melodies down circuitous paths.”

Regarding the song The Smallest Man Who Ever Lived, Zoladz writes, “it is predicated on a power imbalance that goes unquestioned.” This leads the reviewer to wonder, “is a clash between the smallest man and the biggest woman in the world a fair fight?”

The New Yorker noted how difficult it must be for an artist like Swift to maintain her humanity (and humility) in her music given the massive attention lavished on her this past year. The album reviewer, Amanda Petrusich, notes that Swift “has encouraged and nurtured a parasocial affection” with her fans, and “she now has to contend with their sense of ownership over her life.”

She points out that the visual motif of this latest Swift era, if it were a part of the current juggernaut Eras Tour, could be summarized as being “preoccupied with writerly accoutrements, but the vibe is ultimately more high-end stationery store than musty rare-books room.”

Petrusich also noted that “Swift’s lyrics are often focussed on her perseverance against all odds, but, these days, she is too omnipresent and powerful to make a very convincing underdog.”

The reviewer found all the marketing and self-promotion around the album to be, “as they say, cringe.”

Besides the positive Rolling Stone review, Swift has also shared upbeat critiques from The Associated Press, USA Today, the Los Angeles Times, Billboard and Variety to her social media accounts.

However, the common recurring themes that keep popping up in more critical reviews from other revered taste-making outlets suggests that, rather than taking a cold, hard look at herself in the mirror, it's time for Taylor Swift to stop internalizing and over-sharing so much about herself and start looking outward again.