We Don't Believe What's on TV

At its core, "We Don't Believe What's on TV" is a dual exploration of generational cynicism and personal devotion, serving as a raw, acoustic love letter from lead singer Tyler Joseph to his wife, Jenna Joseph. Written shortly before their marriage in March 2015, the song contrasts the false, idealized narratives of mass media with the gritty, unconditional reality of true human relationships.

The explicit theme centers on a rejection of the mainstream media and television, which Tyler argues feed people's desires only to disappoint them, resulting in a generation that has "learned to kill our dreams" to avoid disappointment. Implicitly, the television represents the broader system of societal expectations, superficial success, and the commercialized world. Tyler juxtaposes this macro-societal disillusionment with the micro-reality of his relationship, finding solace and truth in his partner.

Furthermore, the song deals extensively with imposter syndrome and the fear of failure. Tyler is terrified of the rapid rise of Twenty One Pilots during the Blurryface era. He questions what would happen if his musical dreams fell flat and he was forced to face his peers as a failure. His partner acts as his emotional anchor; her presence is so grounding that it dismantles his romanticized youth-centric nihilism (the desire to "die before I'm old"), replacing it with a hopeful willingness to grow old together.

The narrative begins with a collective realization of media disillusionment, where television screens serve only to broadcast fabricated desires and impossible standards. Because these screens show people exactly what they want to see, it becomes obvious that these projected realities are entirely unbelievable. This stark awareness has forced an entire generation to prematurely dismantle and extinguish their own childhood aspirations, learning to kill their dreams before reality can do it for them. Amidst this cultural cynicism, the narrator turns inward, addressing a deeply personal and intimate connection. There is an overwhelming plea for security and reassurance. The narrator desperately needs to know if this beloved partner will remain by their side if everything falls apart and failure inevitably strikes. If this person promises to stay, the narrator vows to continue creating beautiful music for them, jokingly proposing that even in absolute poverty, they could survive by selling the partner's hair.

This playful hyperbole transitions into a profound confession of love and devotion. The physical details, like what is in the partner's hair, fade in importance compared to the raw desire to truly understand their mind and internal world. The narrator admits to a dark, historical fixation on dying young—a common romanticization of escape—but confesses that this newly found love has completely transformed their perspective, making them reconsider and choose to live to see old age. The anxiety returns as the narrative pivots to the agonizing fear of professional and creative stagnation. The narrator ponders the humiliating prospect of their musical ambitions collapsing and the awkward explanations they would have to offer to friends who believed in them. The terrifying dread of waking up from the beautiful illusion of being a successful dreamer, only to find a hollow, unrecognizable version of themselves, looms large. Yet, despite these harrowing doubts, the unwavering commitment to the partner remains the primary shield against both external media falsehoods and internal dread. The song closes by reiterating the initial anthem of rebellion against media deception, grounding their shared reality in each other rather than the glowing screens of television.

"We Don't Believe What's on TV" was written by Tyler Joseph and produced alongside the prominent industry producer Ricky Reed. The track was recorded during the intensive 2014–2015 sessions for the band's breakout fourth studio album, Blurryface, primarily at Paramount Studios in Hollywood, California.

The song represents a pivotal moment in Tyler's personal life. Having proposed to Jenna Black in 2014, and marrying her in March 2015 just before the album's release, Tyler wrote this track (alongside "Tear in My Heart") as a direct reflection of how marriage and stable love were shifting his mental landscape. Musically, Tyler wanted to retain the acoustic, high-energy ukulele style he had experimented with on Vessel (specifically in the fan-favorite "House of Gold").

During live shows, the song became a staple of their high-energy sets. Tyler frequently introduced it with a humorous, spoken-word disclaimer: "A lot of people think this song is about Josh, but it is not. But today it is." This running joke highlighted the deep platonic bond between Tyler and drummer Josh Dun, even though the lyrics were originally penned for Jenna. The song was later featured on the official soundtrack of the 2017 Power Rangers movie, broadening its reach, and was certified Platinum by the RIAA in the United States, cementing its legacy as an upbeat fan favorite.

The song features a rapid-fire, highly syncopated rhythmic drive paired with accessible, natural rhyme structures:

Rhyme Scheme: Tyler utilizes a mix of simple AABB and ABAB end-rhymes combined with colloquial slant rhymes to maintain a conversational, spontaneous flow. For example, in the opening verse: TV (A) / see (A) / believe (A / slant) / dreams (B). The chorus utilizes a more direct AABB structure: hair (A) / mind (B) / old (C) / twice (D)—relying heavily on the rhythm of the delivery rather than rigid perfect rhymes to carry the emotional weight.

Tempo and Meter: Set in standard 4/4 common time at a brisk tempo of 120 beats per minute (BPM), the song has a relentless, driving pace. The rhythm imitates the racing thoughts of an anxious mind. There is a fascinating tension between the frantic, folk-punk strumming pattern and the heavy, solid pop-rock drumbeat, which prevents the song from feeling too delicate. The rhythm matches the lyrical theme of rushing forward despite the omnipresent fear of failing.

The track brilliantly fuses raw, lo-fi literary devices with highly energetic musical structures:

Literary Techniques:

• Irony: The song employs a stark juxtaposition between its bright, celebratory acoustic instrumentation and its deeply anxious, introspective lyrics dealing with failure and death.
• Colloquialism and Conversational Tone: Tyler uses casual language, contractions ("An'", "wanna"), and fourth-wall-breaking spoken cues (such as shouting "All right, second verse!") to create an immediate, intimate, and authentic connection with the listener, shedding any pretense of polished pop stardom.
• Rhetorical Questions: Lines like "What if my dream does not happen? Would I just change what I've told my friends?" directly engage the listener's own anxieties about self-worth and societal perception.

Musical Techniques:

• Ukulele Instrumentation: Driven by a fast-paced, strummed ukulele in A Major, the instrument provides a sunny, folk-pop texture that contrasts with the heavier, electronic, and hip-hop-influenced tracks on Blurryface.
• Vocal Delivery: Tyler's vocal performance shifts dramatically from light, melodic singing to strained, impassioned shouts during the pre-chorus and chorus, conveying a sense of desperate urgency.
• Dynamic Build-up: The arrangement, produced by Ricky Reed, starts with bare ukulele and vocals before exploding into a driving rhythm section backed by Josh Dun's kinetic drumming, acoustic bass, and gang-vocal-style backing chants (the iconic "Oh, oh, oh, oh...") that invite crowd participation.

Though not released as a major worldwide radio single like "Stressed Out" or "Ride", "We Don't Believe What's on TV" has left a significant mark on both the band's discography and pop culture:

• Commercial and Soundtrack Success: The song was selected for the official soundtrack of the 2017 blockbuster film Power Rangers, introducing the band's eclectic folk-punk sound to a massive new audience. Despite its lack of traditional radio promotion, it was certified Platinum by the RIAA, representing over one million units sold in the United States alone. It also peaked at number 36 on the Billboard Hot Rock & Alternative Songs chart.
• Live Performance Staple: The track became one of the most beloved live performance moments during the massive Blurryface Tour and subsequent arena tours. Its communal "oh, oh" chants and fast tempo made it a high-energy highlight, often featuring Tyler and Josh interacting closely with the audience.
• Significance in Discography: Within Twenty One Pilots' catalog, the song is viewed as the spiritual successor to Vessel's "House of Gold", showcasing Tyler's unique ability to utilize the ukulele—historically associated with gentle, soft indie pop—to deliver raw, punk-infused emotional confessions. It remains a key piece of the Blurryface album's narrative, representing a rare, bright escape from the dark, suffocating grip of the "Blurryface" persona.

Several key symbols and metaphors enrich the narrative of "We Don't Believe What's on TV":

• The TV / Television: Represents artificiality, societal pressure, and commercialized fantasies. It is a metaphor for the illusions of success and happiness that society peddles, which are designed to make people consume but ultimately lead to disillusionment and "killed dreams".
• "Selling your hair": A hyperbolic, humorous metaphor for absolute financial ruin and desperation. It symbolizes a willingness to do whatever it takes to survive together, stripping away all superficial vanity (the hair) to preserve their core bond. It emphasizes that their love is not contingent on material wealth.
• "A dreamer's sleep": Represents the state of naive optimism. Waking up from this sleep metaphorically depicts the harsh confrontation with reality and the potential identity crisis of realizing one's lifelong ambitions might never come to fruition.
• "I might think twice": Serving as a metaphor for mental transition, this phrase symbolizes the shift from a romanticized, tragic youth narrative (the "live fast, die young" trope) to a mature acceptance of longevity, domestic peace, and aging alongside a loved one.

The song relies on several powerful recurring motifs that reinforce its central themes:

• "We don't believe what's on TV": Acting as both the title and the bookend of the track (appearing in the first line and the final outro), this phrase acts as a rebellious manifesto. Its repetition stresses the couple's active choice to reject the fake, media-driven world in favor of their personal reality.
• "I need to know / That when I fail you'll still be here": This desperate plea is repeated in both pre-choruses, acting as the emotional core of the song. Each repetition raises the stakes, underscoring Tyler's persistent insecurity regarding his career and personal value.
• "Selling your hair / What's in your hair": The motif of "hair" acts as a quirky, recurring symbol of physical appearance and material security. Transitioning from the pre-chorus joke about selling hair for cash to the chorus assurance that he doesn't care what's actually in her hair, the motif emphasizes the shift from superficial worries to internal connection ("I just wanna know what's on your mind").
• The Collective "Oh, Oh" Chants: A musical motif that recurs throughout the track, serving as a unifying, anthemic vocal hook designed for massive crowd sing-alongs during live shows, transforming private anxiety into a shared communal experience.