“Just when I thought I was out, they pull me back in.” That’s a quote from The Godfather: Part III. Which, weirdly enough, popped into my head as I watched the first two episodes of Taylor Swift’s “The End of an Era” series released just this past week.

Maybe because I only recently reviewed “The Life of a Showgirl,” which I enjoyed. And I am just fresh diving into, for the first time, mind you, The Smashing Pumpkins and Elliot Smith and their absolute classics of an album, “Mellon Collie and the Infinite Sadness” and “New Moon” respectively.

And now I’m grooving to Taylor Swift again.

It’s hard not to be when you have something like “The End of an Era,” which I would describe in one word: compelling. “The Eras Tour” by Taylor Swift is just the gift that keeps on giving. And the new series is just another good thing borne out of the epic embarking that is Swift’s record-breaking tour.

In the series, Swift reveals that “Eras” was conceived after two major events: the sale of her master recordings and the COVID-19 pandemic. Those who kept tabs would know that the former prompted Swift to re-record the “Taylor’s Version” albums and a desire to celebrate all her past work. The latter event, of course, shuttered the world, preventing any touring. In short, after the world “re-opened,” it was time to bust out, and for Swift, it meant bust out big!

The first two episodes focused on the emotional toll Swift had to endure following the cancellation of shows in Vienna due to a foiled terror plot, wherein she commented, “We dodged a massacre situation.” Despite that, she was never spared from the horror of the Southport stabbings (a knife attack at a Swift-themed dance class). A visibly shaken Swift made the effort to meet the families of the victims before some shows.

Those rooting for “Trayvis,” “Swelce,” or “Tayvis” would also get to see the early days of the Taylor and Travis Kelce relationship. Still, it is limited to a disembodied Kelce voice heard over the phone.

But the meat of the series is, for sure, the music. There’s Swift singing snippets of her songs unadorned by the big production behind them. And I think: our girl is not using autotune! But the moments with her fellow pop stars are gold. One is with Ed Sheeran as they rehearse “Everything Has Changed.” One can only imagine how big the egos are of these stars, but together, they seem to cancel each other out. Suddenly, they’re just singers with their guitars sharing a tune. And then cut to the show, and they’re performing in a stadium, and thousands are either screaming their heads off or are singing along to the song. Florence Welch said it best, though. When speaking about working with Taylor, how she’s the “sweetest and most down-to-earth.” But come showtime, like when the pair performed “Florida,” the level of fame and bigness of Swift can be overwhelming, making the Florence + The Machine singer utter the words: “Oh my God, it’s f**king Taylor Swift” after performing with Swift during the Eras tour.

Then there’s “Bonus Day.” Taylor made sure that every worker on the Eras Tour got their due from her choreographers, dancers, band members, production people, sound technicians, to the truck drivers. Everyone (reportedly) got a handsome bonus of $100,000, give or take.

The reaction alone of the people upon finding out of Taylor Swift’s generosity makes the series.