2025 Was a Bad Year for Millennials

Once-untouchable pop stars exposed how creative stagnation, insecurity, and ideological decay disrupt the relationship with their fans

This year was marked by disappointment after disappointment, as we watched our favorite stars transition from beloved icons to untouchable elites. In the new order that feels reminiscent of medieval serfdom, many of us had hoped that the artists we’ve followed for decades would side with us, their fans, rather than the overlorrds (corporations and men in suits). Instead, we were given the middle finger and served up lazy output for quick cash.

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Katy Perry dominated the timeline – not because of a hit song or a triumphant comeback, but because both her album and tour were comically bad. Clips of stiff choreography, dated visuals and gaudy costumes presented a maximalist pop joy that felt like parody without the wink flooded the feeds. The internet was half confused by her and half sad for her.

Then came, her bizarre trip to space on the Blue Origin flight alongside the new Mrs. Bezos, on which she stared blankly into the camera, holding a daisy. What unsettled people wasn’t space travel itself, but rather the dissonance in a year marked by economic anxiety, cultural regression, and very real conversations about survival. The spectacle of wealthy passengers treating a vanity flight as spiritual transcendence felt grotesquely miscalibrated. The internet responded with ridicule, most of which was aimed at Katy due to her treating the experience as a sort of photo op. All this bad press seemingly got to her, as her engagement to Orlando Bloom ended abruptly.

Taylor Swift had a similar journey. As an OG Swiftie, it pains me to say this, but her virality this year had nothing to do with artistic excellence and everything to do with her deep insecurity. She dominated the conversation because of her clear inability to cope with other, younger artists rising around her. The result was a rushed album release that felt uninspired and compulsory, a sharp deviation from her typical formula. She needed to put something out. Anything. Even if it was slop.

And the lyrics were bad. Not “grower” bad. Not “maybe it’ll click later” bad. Certainly not “too deep to understand” bad. Just lazy, clunky, self-mythologizing bad. While the album’s visuals were the most overtly sexual we’ve seen from Taylor, the lyrics were laden with trad wife aesthetics, and fantasies about domestic bliss. Pair that with endless variants, aggressive promotion and parasocial oversaturation, what used to feel like a shared ritual between artist and fan turned into a public exercise in overcompensation and overconsumption. Then there was her bizarre beef with Charli XCX — sparked by Sympathy is a knife on last year’s Brat, a song all about insecurity and comparison. Instead of self-reflection or empathy for a peer, Taylor responded with a hierarchy check that exposed her need for mean-girl dominance and to prove she was still the most popular girl in school.

@whitehouseOUR VIBES 🇺🇸

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Further, she allowed the White House to use her music while avoiding meaningful political engagement while two of her most prominent successors unequivocally took a stance against the Trump administration’s use of their music. In just a few years, Taylor went from staunch feminist to Republican Barbie and capitalism’s final boss.

Nicki Minaj’s arc this year was more sinister. Her appearance at a Turning Point USA event alongside bonafide sociopath Erika Kirk was rather illuminating. Barbs were forced to reckon with the very real, very disturbing fact that both her husband and her brother are convicted sex offenders, which she seems to simply accept. Questions about her finances began circulating. Is she broke? Is that why she’s cozying up to MAGA money? Whether those rumors are true almost doesn’t matter. The damage was already done. This is now what her name conjures. Not bars. Not legacy. Not influence. Just mess, compromise and a complete lack of morality.

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These moments weren’t simply isolated missteps or PR blunders. They were symptoms of a growing problem with millennial stars — creative stagnation coupled with ideological decay. A generation of stars who once benefited from cultural goodwill and unwavering loyalty suddenly found themselves exposed by an audience that no longer feels obligated to defend them under this political climate. This isn’t about aging out, but rather the failure or refusal to adapt, a lack of growth, accountability, and the very self-awareness that made their artistry compelling in the first place.

Once the cracks in the illusion appeared, it changed how we talk about what we expect from celebrities creatively, ethically and culturally.