For many of us listening, it was familiar. That phrase has been used in a thousand other contexts, about neighborhoods and schools and languages and bodies. The Bad Bunny Super Bowl was never just about music. It was about comfort, about who the event was for, about who was expected to feel at home in that space. The resistance wasn’t always loud or cruel, but it was firm. It drew a boundary around an event that had long pretended to be universal while catering to a narrow center.

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Steven Hawkins Demogorgon Parody Graphic T Shirt, Treat yourself or make a great gift for your loved ones

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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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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