As the noise grew, so did the meta-commentary. People stepping back, shaking their heads at how predictable the outrage felt. How familiar the pattern was. Something new appears. A certain group declares a Bad Bunny Super Bowl un-American. Others point out the hypocrisy. Clicks are generated. Rage circulates. Then the moment passes, replaced by the next manufactured crisis. There was exhaustion in that recognition. A sense that we’ve seen this movie too many times.

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But repetition has a way of sharpening intent. When enough people repeat the same shrug regarding the Bad Bunny Super Bowl, it starts to feel like a wall. The complaints piled up in familiar shapes. Why this artist? Why now? Why someone who doesn’t sing in English? Why does the league keep choosing performers who don’t reflect the so-called core audience? Why not rock? Why not Metallica? Why not someone from the Bay Area, someone homegrown, someone who feels earned? Some insisted it was about variety, claiming the past several years had leaned too heavily into rap, R&B, and non-English performances. Others said they’d simply aged out, realizing with a kind of embarrassed resignation that they no longer recognized the names being announced. The halftime show, once a place where they could nod along knowingly, had turned into a mirror reflecting how far the culture had moved without them.

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But the announcement didn’t sit quietly. The event is too large, too symbolic, too visible, and the Bad Bunny Super Bowl seemed to crack open fault lines that had been waiting. Some people said they didn’t care at all. They hadn’t watched a halftime show in years and they could pick Kermit the Frog for all they cared.

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