Bad Bunny promised good vibes and a whole lot of dancing during his Super Bowl halftime show, and he didn’t disappoint. But beneath the perreo-ready hits and viral clips was something deeper.

The performance unfolded as a densely layered visual essay, moving from Puerto Rico's sugar cane fields to New York bodegas, from reggaetón history to quiet political protest, and packing decades of memory, migration, and resistance into just 13 minutes of television.

From set pieces referencing the island's ongoing infrastructure collapse following Hurricane Maria to cameos honoring small-business legends and community elders, nearly every frame carried meaning. Some references were immediately legible. Others were designed for the fans who know where to look.

It was a case of storytelling: a reminder that Benito Antonio Martínez Ocasio didn't just bring Puerto Rico to the Super Bowl. He brought its history with him. Here are some of the Easter eggs you may have missed.

Returning to the roots of the sugar cane fields

Before fireworks, choreography, or surprise cameos, Bad Bunny began his Super Bowl halftime show in a quiet, sunlit sugar cane field, worlds away from the stadium spectacle to come.

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Sugar cane fields are deeply woven into Puerto Rico's history, tied to colonial exploitation and the agricultural labor of generations of working-class people. By opening the performance there, Bad Bunny grounded his global moment in the island's past, honoring the people whose work and resilience built Puerto Rico long before it became a cultural export. It was a reminder that everything that followed grew from this soil first.

Bad Bunny's "Ocasio 64" jersey carries history

When Bad Bunny stepped onto the Super Bowl stage in a custom Zara jersey stitched with the name "Ocasio" and the number "64," it immediately sparked speculation. The name referenced his full surname, Martínez Ocasio. The number, however, carried a heavier weight.

On a personal level, "64" honors his late uncle, who once wore the same number as an athlete. But it also echoes the Puerto Rican government’s initial claim of just 64 deaths after Hurricane Maria in 2017 — a figure later revealed to be a devastating undercount.

Falling into YHLQMDLG

Midway through "Party," Bad Bunny plunged through the roof of the casita into a family's blue living room, a moment that felt both unexpected and deeply intentional.

The visual mirrored the aesthetic of his 2020 album YHLQMDLG, whose blue-hued visualizers defined an era fans never got to see live. The pandemic canceled that tour, making the Super Bowl moment a belated love letter to longtime listeners who’ve been riding with him since the beginning.

Toñita's surprise cameo

Among the star-studded spectacle, one of the night's most meaningful appearances belonged to someone far from the pop spotlight: Maria Antonia "Toñita" Cay, the beloved owner of Caribbean Social Club.

A fixture of Puerto Rican life in Williamsburg for decades, Toñita has been name-checked in Bad Bunny's lyrics and embraced by the Nuyorican community. Her presence in the show was about honoring the everyday institutions that keep culture alive.

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Victor Villa and the power of the side hustle

Another blink-and-you'll-miss-it guest was Victor Villa, the founder of Villa's Tacos. You'll see Benito pass a Villa's Tacos truck during "Tití Me Preguntó."

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Villa's journey — from selling tacos in his grandmother's yard to running acclaimed brick-and-mortar locations — mirrors Bad Bunny's own narrative of grassroots success. His cameo not only celebrated immigrant hustle but also spoke to Bad Bunny's larger message of believing in where you come from, a belief he made explicit when he told Super Bowl viewers that he never stopped believing in himself and that others should believe in themselves, too.

Coco frío and island street life

During "Tití Me Preguntó," Bad Bunny moved past dancers gathered around a coco frío cart, a small detail loaded with nostalgia. Fresh coconut water, sold by street vendors across Puerto Rico, is part of daily life on the island. By centering it in a Super Bowl spectacle, Bad Bunny elevated an ordinary ritual into a symbol of home.

"Gasolina" and the lineage of reggaetón

No, your ears did not deceive you. After blending "Yo Perreo Sola" and "Voy a Llevarte Pa’ PR," Bad Bunny pivoted into a snippet of "Gasolina" by Daddy Yankee, a defining anthem of the genre.

The track, inducted into the Library of Congress in 2023, helped globalize reggaetón in the 2000s. Bad Bunny's performance also sampled Tego Calderón's "Pa’ Que Retozen" and Don Omar's "Dale Don Dale," situating himself within a living musical lineage.

Concho the toad makes an appearance

Before launching into "Monaco," the camera cut to an image of Concho, the animated amphibian mascot of Bad Bunny's latest album, Debí Tirar Más Fotos. Modeled after the endangered Puerto Rican crested toad, Concho represents environmental fragility and cultural survival.

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Jíbaros, power lines, and "El Apagón"

Men in straw hats (pavas) and white clothing — jíbaros, Puerto Rico’s traditional mountain farmers — appeared climbing power lines, blending folklore with modern crisis.

Historically associated with rural life and folk music, jíbaros symbolize resilience. Here, their placement on broken infrastructure referenced post-Hurricane Maria privatization, rolling blackouts under LUMA Energy, and the economic displacement explored in the song "El Apagón." It was a visual essay on who gets left behind when "progress" arrives.

Ricky Martin's Spanish-language reclamation

When Ricky Martin joined to perform "Lo Que Pasó a Hawaii," the moment felt both nostalgic and quietly radical. For an artist long associated with English-language crossover hits like "Livin' la Vida Loca" and "She Bangs," returning to a Spanish-language ballad on the Super Bowl stage carried its own symbolism.

The song reflects on migration and loss. Singing entirely in Spanish, sitting in a monobloc chair, marked how far Latin music has pushed the mainstream. What once felt risky now feels inevitable.

The light blue flag of Puerto Rican independence

At one point, Bad Bunny held la bandera con azul celeste, the light-blue version of Puerto Rico's flag linked to the independence movement.

Once associated with calls for Puerto Rican sovereignty and traced back to pre-U.S. colonial revolts, the light-blue variant of the Puerto Rican flag has become a symbol of resistance and cultural pride. Historians identify azul celeste as the original shade tied to late-19th-century independence movements, and its use today often signals a deeper conversation about the island's identity.

Bad Bunny previously featured it in "La Mudanza," and bringing it to the Super Bowl transformed a political statement into a global broadcast.

A quiet nod to Haiti's visual history

In one of the show's most subtle visual callbacks, a woman waving Haiti's flag wore a green-and-orange ribbed knit top that closely echoed Jay Maisel's 1973 Haiti series, particularly "Haiti No. 59." The styling — easy to miss amid the spectacle — felt deliberately precise, mirroring the texture, color, and composition of Maisel's iconic image.

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Lady Gaga and the maga flower

Lady Gaga’s baby-blue dress, paired with a red floral brooch resembling Puerto Rico's national maga flower, was more than a fashion moment. Designed by Luar founder Raul Lopez, the look wove national symbolism into couture, reinforcing the night’s emphasis on Puerto Rican pride.

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"La Marqueta" and the roots of diaspora

During "NUEVAYoL," Bad Bunny walked past a New York-style streetscape featuring a storefront labeled "La Marqueta."

The real La Marqueta in East Harlem was once a hub for Latino immigrants, helping shape Spanish Harlem in the mid-20th century. Its inclusion honored the diaspora communities that carried Puerto Rican culture beyond the island — and brought it back, amplified, to the global stage.

"Together We Are America"

Toward the end of the halftime performance, Bad Bunny — notably speaking in English — said, "God Bless America." He then expanded the phrase to encompass all the countries of the Americas, not just the United States, re-framing it as a message of unity and belonging. Holding up a football emblazoned with "Together We Are America," he made the point explicit.

Then, switching back to Spanish, he added: "seguimos aquí" ("we’re still here"), before spiking the ball and launching into "DtMF." The moment crystallized the show's larger thesis: presence as resistance, visibility as power, and community as the foundation of everything.

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