#twtltrtd

taken 2 seconds after i found it. utter disbelief

Over the years, Brendon has gone from being the frontman of a relatively niche alternative band to becoming a mainstream celebrity whose music reached massive audiences. And somewhere along the way, the narrative around him shifted from admiration to relentless scrutiny. While criticism of public figures is inevitable, much of the hatred directed toward him feels less rooted in reality and more rooted in resentment toward his success, visibility, and evolution as an artist.

When Panic! at the Disco first emerged in the mid-2000s, they were embraced as outsiders within the alternative scene. Fans connected to the theatrical music, the dramatic lyrics, and the sense that the band existed outside the mainstream.

But as the years passed, the sound evolved. Songs became bigger, more polished, and more commercially successful. Albums produced chart-topping hits, arena tours sold out, and Brendon became the face of the project. Ironically, the very success many artists dream of became one of the reasons some people turned against him.

There is a pattern in music culture where artists are celebrated while they are considered “underrated," but the moment they achieve widespread popularity, they are accused of selling out or losing authenticity.

Brendon became an easy target for this mentality. To some fans, mainstream success somehow invalidated the emotional connection they once felt with the music. Instead of accepting that an artist can grow and still remain genuine, critics reframed his popularity as evidence that he had become manufactured or insincere.

Yet there is little evidence that Brendon abandoned creativity or passion. If anything, his performances consistently showed intense dedication, vocal talent, and a genuine love for entertaining people.

Another reason the hate surrounding Brendon feels exaggerated is the internet's tendency to flatten people into either heroes or villains. Online discourse rarely leaves room for complexity. Mistakes are treated as permanent definitions of character rather than moments within a larger life story. Brendon has openly apologized for past behavior and comments that offended people, and by many accounts, he changed long before the internet decided to continually revisit those moments.

However, in online culture, apologies are often treated as meaningless regardless of sincerity. For some people, the goal is no longer accountability or growth; it is permanent punishment.

This creates an impossible standard.

Society often claims to value education, personal development, and becoming better over time, yet when someone actually demonstrates change, many refuse to acknowledge it. Instead years-old controversies are recycled repeatedly as though they happened yesterday. The cycle becomes less about justice and more about maintaining outrage.

In Brendon's case, every discussion seems to return to the same handful of moments, stripped of context and repeated endlessly across social media. The result is a distorted public image that ignores years of positive actions, charitable work, advocacy, and the countless people who describe him as kind and supportive behind the scenes.

There is also an uncomfortable reality about fame that people rarely admit: audiences often resent individuals who appear too successful, too talented, or too visible for too long.

Brendon's vocal ability, stage presence, and crossover appeal made him stand out even outside alternative music spaces. He became recognizable beyond the fandom. And with visibility comes backlash. The internet frequently builds people up only to tear them down once they become too prominent.

This pattern can be seen across music, film, sports, and virtually every area of entertainment. Popularity creates overexposure, and overexposure creates a culture where criticism becomes trendy.

What makes the situation especially frustrating for many fans is that the hatred often ignores the positive impact Brendon had on people. His music helped listeners through grief, loneliness, anxiety, and personal struggles.

His openness about self-expression encouraged fans who felt different or out of place. He used his platform to advocate for causes he believed in and donated to organizations supporting marginalized communities.

None of this means he should be viewed as flawless, but it does mean that conversation should be balanced. Reducing a person entirely to their worst moments while erasing everything else is not accountability; it is dehumanization.

The larger issue revealed through the treatment of Brendon Urie is how modern internet culture encourages outrage over understanding.

Algorithms reward conflict, negativity spreads faster than nuance, and people often gain social approval by publicly condemning others. In this environment, complexity disappears. A person is either completely good or completely irredeemable.

But real human beings do not fit into those categories. They evolve, learn, fail, improve, and contradict themselves.

Expecting perfection from artists while denying them the ability to grow creates a culture that is both unrealistic and deeply cynical.

Ultimately, it is completely valid for individuals to dislike Brendon Urie or disconnect from his music if they choose. No artist is universally loved, and criticism is part of being a public figure.

However, the level of hostility directed toward him often feels disproportionate to reality, fueled less by genuine concern and more by internet dogpiling, resentment of mainstream success, and the refusal to let people move forward from past mistakes.

The conversation surrounding Brendon says as much about modern fandom culture as it does about him. It reflects a world where success can breed resentment, nuance is often abandoned, and outrage is sometimes valued more than growth.

At the end of the day, Brendon Urie is not a flawless symbol or a villainous caricature. He is an artist who became extraordinarily successful, made mistakes, apologized, evolved, and continued creating music that meant something to millions of people.