Republican Rep. Randy Fine of Florida strongly criticized Bad Bunny’s Super Bowl LX halftime performance, labeling it “disgusting,” “illegal,” and demanding what he called dramatic action against the NFL and its broadcast partners. His comments followed the game at Levi’s Stadium and quickly drew national attention.
Fine argued that profanity and explicit content aired during the performance violated federal broadcast standards. Posting on X, he claimed that similar language in English would have triggered fines and an interrupted broadcast. He announced that his office would contact the FCC to request penalties and possible broadcast license reviews involving the NFL, NBC, and Bad Bunny.
The backlash intensified as other conservatives joined in. Despite Bad Bunny being a U.S. citizen by birth, some critics amplified extreme rhetoric, including calls related to deportation. The controversy highlighted how the Super Bowl halftime show has increasingly become a flashpoint for partisan and cultural conflict.
Rep. Andy Ogles went further, calling the performance “pure smut” and accusing it of exposing children to explicit sexual content. He claimed the show glorified indecent behavior and argued such material is illegal on public airwaves. Ogles said he would request a formal congressional inquiry into the NFL and NBC for approving the broadcast.
Another focal point of criticism was the use of Spanish throughout most of the performance. Rep. Maria Salazar argued that a fully Spanish-language halftime show without subtitles was “exclusive,” saying it failed to unite audiences and should have focused more on shared national identity.
In contrast, Rep. Alexandria Ocasio-Cortez praised Bad Bunny in Spanish and celebrated their shared surname online. Media reactions were also divided, with Megyn Kelly condemning the show as political and un-American, while Piers Morgan defended it as theatrical and noted that the United States has no official language.
The Super Bowl halftime show has long been more than a musical interlude—it is a cultural mirror reflecting the moment America finds itself in. That reality came sharply into focus after Bad Bunny’s Super Bowl LX halftime performance ignited fierce political backlash, particularly from Republican lawmakers who labeled the show obscene, illegal, and un-American. Florida Representative Randy Fine emerged as the loudest critic, accusing the NFL and NBC of violating federal broadcast standards through profanity, sexual imagery, and what he described as deliberate cultural provocation. His call for FCC intervention and potential broadcast license reviews transformed what might have been a fleeting media controversy into a full-scale political confrontation, underscoring how entertainment has become inseparable from ideological conflict in modern America.
Fine’s criticism centered on claims that explicit language—delivered largely in Spanish—would have resulted in immediate penalties if performed in English. He argued that the performance exploited loopholes in enforcement and represented a double standard in broadcast regulation. Posting repeatedly on social media, he framed the show not just as inappropriate but as a threat to public decency and parental trust. His office announced plans to formally request FCC action against the NFL, NBC, and the artist himself, signaling a desire to test the limits of federal oversight in live televised events. While legal experts quickly pointed out the FCC’s limited authority over cable and live programming, Fine’s stance resonated with a segment of the public already primed to view cultural change as moral decline.
The backlash did not stop with Fine. Tennessee Representative Andy Ogles escalated the rhetoric by calling the performance “pure smut” and accusing it of exposing children to illegal sexual content. Ogles argued that the NFL knowingly approved material that violated indecency standards and called for a congressional inquiry into how such content made it to air. His framing placed the halftime show within a broader narrative of institutional failure, suggesting that powerful media organizations no longer respect shared societal norms. These statements amplified conservative outrage and helped shift the conversation from artistic expression to alleged criminality, despite no formal determination of illegality by regulatory authorities.
Another layer of controversy emerged around language and identity. Florida Representative Maria Salazar criticized the performance for being predominantly in Spanish, arguing that it excluded viewers and failed to promote national unity. Her comments sparked intense debate about what inclusion actually means in a multilingual nation with no official language. Critics accused Salazar of masking cultural discomfort behind rhetoric about unity, while supporters claimed she was defending a shared civic experience. The argument revealed deeper anxieties about demographic change, immigration, and who gets to occupy the most visible stages of American life.
On the other side of the aisle, Democratic lawmakers and public figures responded with celebration and defiance. Representative Alexandria Ocasio-Cortez praised Bad Bunny in Spanish and highlighted cultural pride, while commentators like Piers Morgan defended the performance as theatrical, legal, and consistent with America’s pluralistic values. Media personalities clashed over whether the show represented artistic freedom or cultural erosion. Some framed the outrage as selective moral panic, noting past halftime performances featuring explicit imagery that drew far less political attention. Others argued that the reaction revealed how Latino culture remains politicized when placed at the center rather than the margins of American entertainment.
Ultimately, the controversy surrounding Bad Bunny’s halftime show says less about broadcast standards and more about the nation’s ongoing identity struggle. The Super Bowl stage became a proxy battlefield for debates over language, morality, representation, and power. While investigations and inquiries may follow, the deeper impact lies in how quickly art becomes weaponized in partisan conflict. The episode illustrates a country negotiating who belongs, whose culture is acceptable, and whether shared experiences can still exist in an era defined by division. Whether seen as offensive or groundbreaking, the performance succeeded in one undeniable way—it forced America to confront the uncomfortable truth that culture, like politics, is no longer neutral ground.
Summary:
Bad Bunny’s Super Bowl LX halftime show sparked intense political backlash from Republican lawmakers who labeled it obscene, illegal, and culturally divisive. Calls for FCC action and congressional inquiries fueled a national debate over censorship, language, and identity. Supporters defended the performance as artistic and inclusive, highlighting America’s deep cultural and political divisions.
