Katy Perry: From Blue Origin Flight to ‘Cringe’ Dance Moves

Earlier this week, the American singer Katy Perry, best known for her Bubblegum -Pop, said she felt like a “human piñata” after weeks of online recoil.

The description felt appropriate colorful – but the recognition was serious. A decade of the headline of the Superbowl, Perry’s role in a much -thrown blue origin SpaceFlight has Seeing her star on the earth.

Spot about the apparent dignity of her reaction, including kissing the ground after landing and saying that she felt “so connected with love”, spread online. Fast food chain Wendy’s even posted to ask: “Can we send her back?”

Trolls have now focused on her world tour, which started in Mexico on April 23 and criticized her dance movements and performances.

It seems that the star that broke through for the first time about singing about the mood of a friend is now confronted with an icy reception. Perry blamed a “loose and not -not -not” content “internet -but is toxic social media the only reason?

The music writer Michael Cragg, author of Reach for the Stars, believes that Perry’s problem is that she is stuck between pop cultures and is no longer feeling contact.

“Her pop star Persona was cemented in the years 2010 as a cartoon-y, fun and playful, all whipped cream bra’s and Goofy videos where she wore oversized bracket on her teeth,” he says.

This worked for a period. Her second album Teenage Dream, which doubled on Perry’s Nietje Cheeky, sexualized girl-next-door image, scored five billboard number one singles to match a record set by Michael Jackson. The follow-up, the 2013 prism, wore Transatlantic Smash Single Roar (Her fourth solo uk number one), as well as dark horse in the US (her ninth inland). Perry has not had any charts under her own steam since then.

“That was a long time ago in pop terms and it feels like she has not evolved,” Cragg adds.

In the past year, the world of her comeback single woman, praised as a female empowerment people, critics, critics as textual shallow.

Some fans also did not seem to be impressed that it was produced by Dr. Luke, who was previously confronted with accusations of sexual violence from the singer Kesha. The producer denied the claims and the couple reached an agreement to arrange a resilient procedure in 2023, but Perry remained affected by the Association.

The Track did not land in the top 50 in the US and just succeeded in the UK, at the age of 47. “Her kind of spiritual ‘Let love lead the way’ messages that she has not really kept messages with very online pop fans in the light of that decision,” says Cragg.

“The regressive girl’s boss feeling of the world of women, and then the album did not greatly help,” he adds, pointing to the success of rapper Doja Cat with Dr. Luke without the same negative reaction.

It followed a pattern of failed reinvestment attempts that extend to the 2017 witness, where Perry tried to launch her socially conscious “targeted pop” era.

But his lead single written by Sia, which was disc at brainless pop culture, seemed to be discouraged by Bon Appetit, a song openly objectively Perry as a sexual meal.

Perry’s first hit I kissed a girl caused controversy for the fetishing of lesbians, even in 2008 when it was released. But today Roan was successful worldwide and told her real queer awakening.

“The Flip Flopping is hunted in an era in which … highly defined pop star -personas are the ones that cut through,” Cragg argues.

Perry’s 2021-2023 Las Vegas Residency in Las Vegas embraced her surrealistic, fantastic image to commercial And critical success.

But it does not translate into a new generation of fans. “I think people finally see her as a bit urgent,” Cragg adds. “Is shot in space on the Jolly of a billionaire, while everyone looks at that on social media platforms alternated with war and the climate crisis … just doesn’t feel ideal,” he says.

Perry may have rated the public mood incorrectly, but at the same time the poison points to deeper problems in pop culture outside of her control in the recoil.

There is no doubt that the landscape of social media has become more haze in recent years, with stars like Roan Speak to poisonous fandoms.

Simon Diego, the maker of the Portal Katy Perry-Fangemenschap in Brazil, described the scale of abuse towards the 40-year-old as “incredible”.

The group showed their support by, together with other fan pages, to pay for a digital Billboard message on Times Square in New York for 24 hours.

“We are so proud of you and your magical journey and we love you to the moon and back,” it was said.

“Know that you are safe, seen and celebrated. We’ll see you all over the world, this is just the beginning.”

It was this that Perry answered directly with her Piñata mark that recognized the recoil.

“I think Katy and many other celebrities feel unsafe in one room that used to connect them with fans,” Diego tells BBC News.

He believes that Perry has never posted photos of her daughter’s face online.

But even that limit was ignored in the aftermath of space criticism, while commentators started to focus on her four -year -old child, simply because “it is now cool,” he says. “They don’t understand how bad the hair can influence.”

Others, such as Marie Claire Australia editor Georgie McCourt, think that ubiquitous misogynia plays a role.

“A certain anger has been reserved for women such as Perry: ambitious, non-apologetic, hyper-visible,” wrote in a columnnoted that male celebrities have already gone into space without such a supervisory response.

So where the next for Perry? CRAGG says a hit single would help.

“I am not saying that the hair will return to the commercial highlights of yesteryear, because that ship has sailed for many pre-streaming artists, but it will stabilize the ship.”