The resistance didn’t always come out angry at first; instead, some critics of a Bad Bunny Super Bowl expressed a sense of nostalgia for past eras. I kind of miss a guitar showing up at these things. It should’ve been Metallica. It should’ve been AC/DC. Another year without Weird Al. The Super Bowl, in those voices, wasn’t supposed to be a place for discovery. It was supposed to be a reunion. A place where the culture checked in with its past and confirmed it was still intact.

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So when the announcement came, the reaction wasn’t just surprise. It was a jolt, like someone had swapped out a piece of furniture in a room we all thought we knew by heart. Some people leaned forward, curious about the Bad Bunny Super Bowl. Others recoiled, immediately defensive. Not angry, they insisted. Just confused. Or disappointed. Or indifferent in a way that somehow still demanded to be said out loud. There was an expectation that halftime belongs to a certain sound, a certain language, a certain idea of who America imagines itself to be when the whole world is watching. And suddenly that expectation felt challenged.

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Then there was the skepticism. The insistence that calling the Bad Bunny Super Bowl defiant or brave was embarrassing. That all it took was a publicist, a glossy article, and suddenly an Apple Music commercial with people dancing salsa was being framed as some grand political protest. The bar, they said, was so low. Others zeroed in on the corporate gloss, pointing out the dystopian irony of a sweet message packaged by a tech giant whose leadership had bent the knee to power before. Love the artist, sure, but don’t pretend this isn’t still advertising. Don’t pretend it isn’t compromised.

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