jealousy, jealousy

"jealousy, jealousy" by Olivia Rodrigo is a sharp and honest critique of the negative psychological effects of social media culture. The song delves into the pervasive feelings of inadequacy, envy, and self-loathing that arise from the constant comparison to the curated, seemingly perfect lives presented online. Rodrigo herself described the song as a "tongue-in-cheek" reflection on a time when she was "super obsessed with social media," constantly looking for things that would make her feel bad and comparing herself to others. The core message revolves around the destructive nature of "compare-and-despair," a cycle where viewing the highlight reels of others' lives leads to diminished self-worth. The lyrics articulate the internal conflict between knowing rationally that others' successes don't equate to one's own failures ("Their win is not my loss") and the overwhelming emotional reality of feeling inferior. It’s a commentary on how modern platforms can create a toxic environment where individuals, particularly young people, feel their life is only as valuable as their online presentation. The song captures the unhealthy obsession with strangers' lives and the desperate desire to be someone else, culminating in the painful admission that jealousy has become an all-consuming force.

The song opens with a raw, relatable urge to discard the very tool that fuels the narrator's distress: her phone. It’s a window into a world of perceived perfection, showcasing girls who seem flawless with their "paper white teeth and perfect bodies." This constant influx of idealized images creates a heavy burden of self-doubt. The narrator is consciously aware that their beauty doesn’t diminish her own worth—a rational thought stated in the line, "I know their beauty's not my lack"—but emotionally, it feels like an immense weight she can't shake off. This internal conflict sets the stage for the core theme of the song.

The chorus is a powerful, repetitive cry of anguish. The phrase "Com-comparison is killin' me slowly" captures the corrosive effect of constantly measuring herself against others. She fixates on the lives of people she doesn't even know, strangers on the internet who are now the benchmark for her own happiness. This obsession leads to a profound sense of self-loathing, a desperate wish to be "anyone, anyone else." The personification of jealousy as something that actively "started followin' me" brilliantly illustrates how this feeling has become an inescapable shadow, mimicking the way one follows accounts on social media.

As the song progresses, the narrator observes others effortlessly obtaining all the things she desires—from tangible items like "cool vintage clothes" to experiences like picturesque "vacation photos." She admits to a conflicting emotion: a flicker of happiness for them that is immediately extinguished by her own envy. There's a moment of self-awareness where she recognizes the irrationality of her feelings, exclaiming, "Oh God, I sound crazy." She understands the logical truth that "Their win is not my loss," yet she remains hopelessly entangled in the curated highlight reels of their lives.

The bridge elevates the feeling of inadequacy by painting a detailed picture of the idealized life she covets. It’s a life filled with social outings, financial privilege ("In your daddy's nice car"), and aesthetic perfection ("Got a pretty face, a pretty boyfriend, too"). The desperation peaks with the line, "I wanna be you so bad and I don't even know you," underscoring the superficiality of the envy born from social media. She is consumed by an image, a carefully constructed persona. The repetition of "All I see is what I should be" reveals how this comparison has warped her self-perception, replacing her own identity with a checklist of traits—"Happier, prettier"—that she feels she lacks. The song culminates in a state of feeling like she's "losin' it," where the only emotion she can access is jealousy, a direct result of the relentless cycle of comparison she is trapped in.

"jealousy, jealousy" was written by Olivia Rodrigo, her producer Dan Nigro, and songwriter Casey Smith. It is the ninth track on Rodrigo's debut studio album, Sour, released on May 21, 2021. Rodrigo revealed that this was one of the first songs she wrote for the album, stemming from a period where she was deeply engrossed in social media. She explained in an interview with Nylon that she was in a "troubling mindset" where she felt her life's depth was limited to her Instagram feed and would actively seek out content that would hurt her feelings through comparison. The song was recorded along with the rest of Sour at Amusement Studios in Los Angeles, Heavy Duty Studios in Burbank, and Funk Studios in Salt Lake City between 2020 and March 2021. The production, led by Dan Nigro, features a distinct, shadowy bassline and atonal piano elements, with additional production contributions from Jam City. Rodrigo has cited artist Fiona Apple as a major inspiration, and some critics have noted a similar aesthetic in this song's sound.

The song's rhythmic and rhyming structure contributes significantly to its feeling of obsessive thought and mounting frustration. The verses follow a loose, conversational rhythm, mirroring a stream of consciousness. The rhyme scheme is not strictly rigid, often using near rhymes (lack/back, true/bodies) which adds to the natural, diary-like feel of the lyrics. The pre-chorus builds tension both lyrically and rhythmically, leading into the explosive chorus. The chorus itself has a more defined and repetitive rhythm, driven by the staccato delivery of "Com-comparison is killin' me slowly." The deliberate, drawn-out pronunciation of the word "slowly" emphasizes the prolonged nature of her suffering. The song maintains a driving tempo throughout, reflecting a sense of restless anxiety. This energetic pace contrasts with the negative emotions being described, creating a feeling of agitated despair rather than lethargic sadness.

"jealousy, jealousy" employs a blend of musical and literary techniques to create its angsty and tense atmosphere.

• Musical Techniques: The song is built on a prominent, creeping bassline that creates a sense of unease and tension from the start. This is complemented by a repetitive, somewhat atonal piano riff that adds to the unsettling mood, a choice some have compared to the work of Fiona Apple. Rodrigo's vocal delivery is dynamic, shifting from a near-spoken, conspiratorial tone in the verses to a more forceful, almost shouted declaration in the chorus and bridge, emphasizing her frustration. The production incorporates layered vocals and harmonies, particularly in the chorus, to heighten the sense of an overwhelming, internal monologue.
• Literary Techniques: The primary literary device is the direct, conversational narrative voice, which makes the lyrics feel like a candid confession. Rodrigo uses hyperbole in the chorus with "Com-comparison is killin' me slowly" to express the extreme emotional toll of her envy. There's also a strong use of irony and self-awareness, particularly when she admits, "I'm happy for them, but then again, I'm not" and "Oh God, I sound crazy," which showcases the internal conflict between rational thought and emotional impulse. The bridge utilizes a list-like structure ("a pretty face, a pretty boyfriend, too") to tick off the attributes of the idealized person she wants to become.

"jealousy, jealousy" resonated strongly as a defining anthem for Generation Z, articulating a shared experience with the pressures of social media. As part of the massively successful debut album Sour, which broke Spotify records for the biggest opening week for an album by a female artist, the song received significant attention. While not released as a single with the same promotional push as tracks like "drivers license" or "good 4 u," it became a fan-favorite and a standout track for its relatability. The song's themes have been widely discussed in articles and think pieces about mental health in the digital age. Its cultural impact is also evident in its use in other media; for instance, Brazilian telecommunications company Vivo used the song in a 2025 campaign to raise awareness about smartphone addiction and its psychological impact, choosing it specifically for its message and Rodrigo's connection with younger audiences. The song solidified Rodrigo's reputation as a songwriter with a knack for capturing the specific anxieties of modern adolescence with wit and honesty.

The most significant use of figurative language in "jealousy, jealousy" is the central metaphor and personification of jealousy itself.

• The Phone as a Portal to Misery: The song opens with the line, "I kinda wanna throw my phone across the room." Here, the phone is not just a device; it symbolizes the source of her torment. It's the portal through which the idealized, and often false, realities of others invade her consciousness, fueling her insecurity.
• Personification of Jealousy: The lyric, "My jealousy, jealousy started followin' me," is a clever play on words and a powerful personification. On one level, it literally references the act of "following" people on social media platforms. On a deeper, metaphorical level, it portrays jealousy as an active, stalking entity that has become her constant companion, an inescapable shadow born from her online habits.
• "Paper white teeth and perfect bodies": This imagery serves as a symbol for the unrealistic and often digitally enhanced beauty standards perpetuated by social media. These specific, almost clinical, details highlight the curated and artificial nature of the perfection she observes.

The most prominent recurring motif is the phrase "jealousy, jealousy," which acts as the song's central hook and thematic anchor. Its repetition throughout the song emphasizes how this single emotion has come to dominate her thoughts. The line "Com-comparison is killin' me slowly" is the thesis statement of the song, recurring in each chorus to hammer home the core message about the destructive nature of comparing oneself to others. The idea of being an observer of others' perfect lives is a recurring image, seen in mentions of "cool vintage clothes and vacation photos" and the detailed fantasy in the bridge about the person who "go[es] out every night." Finally, the phrase "I'd rather be, rather be / Anyone, anyone else" is a heartbreakingly direct and repeated expression of the self-loathing that stems from this constant comparison, making it a key lyrical motif of her desire to escape her own skin.