Bad Bunny's Super Bowl LX halftime performance generated divided opinions regarding its representation of Latino culture. Some viewers viewed the performance as a significant triumph for the Hispanic/Latin American community, while others criticized its explicit lyrics and dances. Father Mario Arroyo interpreted the show as a political statement emphasizing the multicultural nature of the United States and addressing feelings of harassment within the Latino community due to U.S. administration measures. Arroyo also linked Bad Bunny's stage name choice to a political message confronting the agenda of then-President Donald Trump. Criticism focused on the performance being a "vulgar spectacle" that sexualizes women and degrades human behavior, rather than showcasing the 'best act' of Latin America.
18 days ago
Bad Bunny headlined the Super Bowl LX halftime show on February 8, 2026, at Levi’s Stadium in Santa Clara, California, where the Seattle Seahawks defeated the New England Patriots.1 2
The performance featured Lady Gaga, Ricky Martin, Jessica Alba, Pedro Pascal, and Karol G, drawing an average of 128.2 million viewers, down from 133.5 million for the previous year's show.1 2
The show elicited divided responses, with some viewing it as a triumph for Latinos and a celebration of multiculturalism in the U.S., home to about 70 million Latinos.1 2
Others criticized it for obscene lyrics, sexualized dances, and vulgarity that failed to represent Latin America's finest qualities.1 2
Father Mario Arroyo described the performance as a political statement countering President Donald Trump's agenda, highlighting Latino grievances amid ICE raids that arrested 400,000 people in 2025, with less than 14% having violent records.1 2
Bad Bunny reinforced this by saying "ICE out" at his February 2 Grammy acceptance for Best Urban Music Album, amid protests over ICE killings in Minneapolis.1 2
Bishop Eusebio Ramos, president of the Puerto Rican Bishops’ Conference, avoided endorsing reggaeton but praised Bad Bunny's messages of love, fraternity, tearing down walls, and human dignity amid deportations.1 2
He framed it as hope against Puerto Rico's 125-year "colonialism" as a U.S. territory without voting representation.1 2
Father Arroyo, not a reggaeton fan due to its sexualization of women, called the show a "vulgar spectacle" where ends do not justify means, despite positive Puerto Rican imagery.1 2
Puerto Rican Senator Joanne Rodríguez-Veve labeled Bad Bunny a "political phenomenon" with "woke undertones," rejecting his objectification of women as unrepresentative of Puerto Rican values like family, faith, and simplicity.1 2
President Trump denounced the show on Truth Social as "absolutely terrible," incomprehensible, and disgusting in dancing.1 2
Bishop Ramos dismissed Trump's reaction as typical, while Arroyo suggested the NFL's aim was economic, broadening football's appeal.1 2
Arroyo contrasted the show with the Milan Cortina 2026 Winter Olympics opening by Andrea Bocelli and Laura Pausini, deeming it superior culturally but less viewed (21 million vs. over 128 million).1 2
He urged teaching children media discernment to avoid "junk food" for the soul.1 2
How does Catholic doctrine address cultural representation in popular media?
Catholic doctrine recognizes the mass media as a dominant force in shaping cultural identities, values, and global interactions, urging communicators to represent cultures in ways that respect human dignity, foster authentic development, and align with Gospel values. Church teachings highlight both the positive potential of media to enrich cultural life and the ethical pitfalls of misrepresentation, superficiality, or domination, while calling for active Catholic engagement to promote truth, beauty, and inculturation.
Popular media, including film, television, music, and digital platforms, offer unparalleled access to art, literature, and traditions that might otherwise remain inaccessible, thereby advancing human knowledge, wisdom, and appreciation of beauty. For instance, media enable ethnic groups to celebrate and transmit their heritage to younger generations, drawing families together and helping individuals navigate daily life. This aligns with the Church's view of communicators as servants of the common good, akin to artists who preserve and enrich national cultures.
The Second Vatican Council's Communio et Progressio praises media for creating new artistic forms and fostering international cooperation, encouraging a "truly catholic taste" that embraces diverse traditions, nations, and sub-cultures. In this way, media can bridge cultural divides, allowing societies to learn from one another without erasing unique identities. The Catechism underscores media's role in cultural promotion and formation, especially amid technological progress that amplifies their reach and influence on public opinion.
Yet, doctrine sternly critiques media representations that degrade cultures through superficiality, bad taste, or corrupting content. Critics note how news oversimplifies complex issues, while entertainment often exploits sexuality and violence, debasing human relationships, undermining family life, and eroding moral standards. Such portrayals are irresponsible, as media not only reflect but powerfully shape popular tastes; they bear a duty to uplift rather than demean.
A grave issue is cultural imperialism, where affluent, secularized societies impose their values via one-way flows from developed to developing nations, risking the extinction of traditional expressions and pressuring weaker cultures toward uniformity in materialism, individualism, and immorality. Pope Francis echoes this in Evangelii Gaudium, decrying globalization's erosion of local roots through ethically debilitated foreign influences, particularly via media that threaten family stability and sacred values. The Pontifical Council for Culture warns of "merchants of violence and cheap sex" dominating screens, outpacing educators and homogenizing diverse cultures.
Catholic teaching positions popular media as a modern "Areopagus"—a cultural forum like St. Paul's in Athens—essential for proclaiming the Gospel amid a "global village." Evangelization demands not just using media to broadcast doctrine but integrating the Christian message into its "new culture" of languages, techniques, and psychology. Pope Benedict XVI in Caritas in Veritate insists media must serve anthropological ends, promoting personhood, common good, and universal values like charity and truth, rather than economic or ideological agendas.
Documents advocate a robust Catholic presence: training journalists, supporting Catholic outlets, and infiltrating secular media to evangelize culture. Local Churches host festivals, award prizes, and produce content highlighting Gospel-aligned values, ensuring fair Church representation and countering distortions. Sacred art in media, as a "formidable instrument of catechesis," conveys Christ's universality, breaking cultural barriers more effectively than words alone. Pope Francis emphasizes parrhesia—bold, honest communication—reviving words with life to avoid clichés and serve truth.
The Church prioritizes media that connect youth with their heritage, countering the "deluge of banal and brutal images." In liturgy and devotion, cultural expressions like song and music enhance sacramental signs when rooted in Scripture and doctrine. Amid digital influences, discernment is key: inculturate without uncritical adoption, shaping a "new culture of love and hope" inspired by Christ. Bishops worldwide lament media's role in exporting debilitating patterns, urging respect for local priorities.
In summary, Catholic doctrine calls media to ethically represent cultures by elevating dignity, preserving diversity, resisting domination, and evangelizing through beauty and truth. Catholics must engage professionally, forming consciences and countering harms with hope-filled witness. This balanced approach ensures media builds communion rather than division.