The Super Bowl has always arrived with a script already written in our heads. We expect the flags, the fighter jets, and the clean mythology of America, but a Bad Bunny Super Bowl challenges that compressed evening. We expect the commercials to be louder than they need to be and the halftime show to feel safe in a way that pretends to be exciting. We expect a certain kind of music, even if we pretend we don’t. Guitar riffs we recognize from decades ago. Songs we half-remember from car radios and bar jukeboxes. Artists who reassure us that nothing fundamental has shifted, that this is still the same country we learned to recognize through television.
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There was also defiance, sometimes joyful, sometimes sharp. The anticipation of a Bad Bunny Super Bowl triggering certain groups became its own kind of fuel. People admitted they were excited not just for the performance, but for the tantrums that would follow. Supporting him became, for some, a way to draw a line regarding which side of this cultural shift they stood on.
(Fleetwood Mac Classic Clogs with Custom Band Charms.)We could feel the expectations colliding almost immediately. There were people who genuinely didn’t know who he was and said so plainly, almost defensively, as if ignorance of the Bad Bunny Super Bowl itself were a position. There were those who admitted they didn’t care either way, who saw halftime as background noise at best, an inconvenience at worst. And then there were people who bristled, who framed their unease as concern for language, for tradition, for the supposed majority of viewers who, they insisted, would not understand what was being said. It wasn’t always angry. Sometimes it was just annoyed. Sometimes it was couched in reasonableness. But it was there.
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