Staff Reports
The numbers tell the real story. Super Bowl LX, played on February 8, 2026, still drew a massive audience — averaging about 124.9 million viewers and peaking at a record-setting 137.8 million during the second quarter — proof that the Super Bowl remains must-see television even as cultural fights rage around it.
Bad Bunny’s Apple Music halftime set pulled in roughly 128.2 million viewers, making it one of the biggest halftime audiences in history, though it fell short of last year’s record. That’s an enormous crowd, but conservatives shouldn’t confuse raw viewership with endorsement — many Americans tuned in out of habit, curiosity, or to watch the spectacle, not to embrace the NFL’s cultural messaging.
Right-wing organizers did try to offer an alternative: Turning Point USA’s “All‑American Halftime Show” managed to draw millions of live viewers, peaking around the low single-digit millions and accumulating roughly twenty million views across platforms — respectable for a grassroots counterprogram, but tiny beside the NFL’s reach. The scale difference makes the point plain: if conservatives want to win cultural ground, muscle and message both need sharpening.
Make no mistake, Bad Bunny’s performance was historic — he became the first halftime headliner to sing primarily in Spanish and the show set huge social-media engagement numbers, which is exactly what the cultural elites wanted: spectacle that doubles as soft power and branding. There’s nothing wrong with Latino pride, but there is every reason to object when the NFL and its corporate partners prioritize a political or cultural agenda over neutral entertainment for a mass American audience.
The reaction from conservatives was swift and fierce, and not without reason: prominent voices slammed the choice and argued the league is out of touch with many fans who want halftime entertainment that celebrates shared American culture rather than advancing niche political narratives. President Trump’s public criticism of the show underscored how this has become more than music — it’s a cultural barometer and a political football.
Even the conservative counterpunch had its problems; the TPUSA production was criticized for technical stumbles and lip‑sync accusations that undercut its credibility, showing that rage alone won’t win hearts and minds. If patriots want to reclaim the narrative, we need better production, smarter messaging, and an unapologetic celebration of American values that actually attracts mainstream viewers instead of just preaching to the choir.
