Katy Perry has been brought to Earth since she returned to outer space from her short stay.

The singer recently started a lifetime tour to promote her latest album, “143,” which takes place against the backdrop of nearly ridiculous online (the sixth-layer story on this page provides an introductory book). The case against Perry seems to be double: First, her recent music criticized her recent music but failed to expand Perry's heights early in her career. (The music also relies on close collaboration with Perry's early career producer Dr. Luke, who resolved cases of alleged emotional abuse and sexual assault in court by Kesha.

The two threads have begun to blend together, bringing them together in a familiar way: Her cancellation of her tour was the object of online ridicule after Jennifer Lopez separated from Ben Affleck last summer, while Anne Hathaway was the zero-patient for zero-hate against public women. And it seems to be making an impact: the hamburger chain Wendy is clearly so hurting that the sarcastic tweets in her social media account that “close to the source of the situation” uses people to condemn, and this weekend, a video of Perry performing on the Mexican stage crying while the Mexican performs in Mexico.

This is striking, partly because of where Perry is: her current tour celebrates music that is neither so accomplished and much more successful than her peak days (perhaps it’s worth noting that Perry cries while singing in “Teenage Dream”, her 2010 Magnum opus sings); the same music, for a strange non-compulsory mistake that once was a once fascinating road, was made by a man who had to become the character of the nongrata among Perry’s peers. Her 2012 tour documentary Katy Perry: Part of Me reached an emotional climax when she learned that her marriage to Russell Brand was over, Perry pulled herself together and forced herself to smile so as not to disappoint her fans.

In other words, it is a performer who only lets the audience see what she wants us to see. Perry seemed indignant of her treatment - her tears; her camp declared what Wendy owed Perry's apology - expected to extend the spiral.

Previously, Perry had tried to preempt criticism, making a loopy but tone-deaf video for her song “Woman's World” in which she framed herself as fundamentally in on the joke, singing about female empowerment while presenting herself as desperate for approval (the video ends with her stealing a ring light belonging to an influencer who has no idea who she is, then screaming “I'm Katy Perry!"). The video, comics moment is a cliché that makes "Roar" look like a "female mystic" cliché, both in the merits and their existence, as it is the document that promotes the songs produced by Dr. Luke that may become feminist. This is painfully ironic given the allegations against him.

It's hard to defend "143"; Perry's career performance at the Video Music Awards last fall was more important than previous material than new hits, and Perry decided to reverse her previous stance against working with Luke, who made multiple albums without being involved, a shameless attempt to restore past glue. Similarly, her time in space and her and her peers ruthlessly improve her extraordinary achievement, which is deaf and dumb at the moments read by the truth in three spins around “I kissed a girl”.

But, there is something poignant about Perry's way of not being able to get out of himself. In the past moments of her career, she tends to be a ham tendency—for example, in her time as a judge of “American Idol” or in the slimy cheese of Super Bowl halftime halftime. But she is not a shaky artist, his feet are particularly timeless, and crucially, she is not good at artistic evolution. Perry used to try to reshape her image and voice, just like the launch of her 2016 election album “Divels” that she tried, and you worked hard. At that time, she promoted the album with a live broadcast of her multi-day life, during which she received treatment and cried.

It's something she wants the public to see again - but few of her audience want to consume art related to wonder. ("Witness World," live, was spread out and discussed endlessly, but the album it promoted was the first of a series of commercially disappointed.) However, Perry tried to convey the real thing through various fake layers of jagged and engaging attempts. She is still trying, tripping with her ranks: Space flight makes Perry speak in terms, claiming she has been studying string theory to understand the universe. It's obvious that she really believes that her journey through the Kármán series will be a catalyst for change and inspiration. She ended up having to find out that it wasn't, which almost felt sad.

Perry’s popular brand, from the highs of Teen Dream to the lows of "143", is rooted in a delicate sincerity. After all, her first hit single was an ode to kissing a girl to catch the attention, and she has continued to maintain a similar attitude for the years thereafter. But, in painful and sudden moments, Perry tries to convey what’s behind the wig and a bright smile – in love, for example, or in a country or now an object of online contempt, for example, or in love. Perry’s mistakes in the public eye are getting more and more frequent, her music completely disappears from a conversation, and skilled stars like Billie Eilish, Chappell Roan and Doechii are currently leading. But she has to consider not only her past achievements, but also the fact that she has been as painful as she has done before. Perry still stares into our eyes as he cries on stage while singing the 15-year-old song. That may not be artistic. But that's why we become a star.