The unease surfaced quickly and plainly. There were those who said they would turn off the television altogether, choosing to view the Bad Bunny Super Bowl as a moment for silence as protest. Others joked that halftime would be better spent watching dogs chase toys instead. Some framed their rejection more politely, calling it pointless or unnecessary, or arguing that the NFL had gone too far, leaning too hard into a certain kind of music, overcorrecting for past mistakes. The complaint wasn’t always overtly hostile, but it carried weight. It suggested that something had been taken away, that the event had drifted from what it was “meant” to be. And beneath that was a quieter insistence: this doesn’t belong here.
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As the reactions piled up, it became clear that the Bad Bunny Super Bowl announcement acted as a lightning rod for every anxiety about cultural change that the event made impossible to ignore. This has happened before, as every halftime show for the last decade has triggered some version of this predictable outrage. Someone will always declare it the worst show of all time before it even happens, simply because they don’t understand the language or the artist.
()The resistance didn’t disappear as the excitement grew. It hardened in some places. People insisted that the NFL wasn’t catering to Gen Z liberals with the Bad Bunny Super Bowl. That the primary audience didn’t want Kendrick, didn’t want Bad Bunny, didn’t want anyone like this. That there aren’t any real artists anymore anyway. Others reduced it to strategy. The NFL is just chasing demographics. Latino viewership potential. Streaming numbers. Publicity. Whether you love him or hate him, look at the word of mouth. Look at the headlines. It’s working.
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