Bad Bunny preached in Spanish. The NFL hides behind tax perks in English.



Bad Bunny — real name Benito Antonio Martínez Ocasio — used the Super Bowl LX halftime show to deliver a political message. That’s his right. The part worth discussing is the NFL’s decision to underwrite it, package it as entertainment, and beam it into tens of millions of living rooms as if it were part of the deal fans signed up for.

As Martínez Ocasio demonstrated at halftime, he is an unrepentant Puerto Rican leftist, following a familiar script in the tradition of Griselio Torresola and Oscar Collazo of the 1950s and the Macheteros of the 1970s: grievance, agitation, and a convenient villain.

If the NFL is now acting as an advertising agency for political organizations, shouldn’t the IRS take a fresh look at the tax advantages that help the league operate like a monopoly?

Bad Bunny uses hip-hop instead of bullets or bombs, but he is still selling the same posture — righteous rage, revolutionary cosplay, and a political edge aimed squarely at Immigration and Customs Enforcement.

What irritates even more is the sponsor of this performance: the National Football League, allegedly as American as an institution can be — and certainly as profitable. It rakes in enormous revenue under a legal regime that has long treated the league like a protected creature of Congress. Then it rakes in more when corporations pay obscene sums for skyboxes and “experiences” and promptly write much of it off as a business expense. Nothing says “shared sacrifice” like a luxury suite tax deduction.

All of that would be tolerable if the league stuck to what it does best: organize a children’s game for adults, staffed by small groups of millionaire “college graduates” sprinting around a 100-yard patch of turf while the rest of us yell at referees and pretend we understand the salary cap.

Instead, the NFL now wants to be your civic tutor. The league has decided that the score isn’t enough; it also needs slogans — mostly in Spanish — delivered to a mostly non-Spanish-speaking audience that paid for tickets, cable packages, streaming subscriptions, and, in many cities, the stadium itself.

In recent years, the NFL has plastered the experience with political catechisms: “Black Lives Matter,” “Say Their Names,” “I Can’t Breathe,” “Justice,” “Equality,” “Freedom,” “Power to the People,” “Justice Now,” and “Sí se puede.” Now, thanks to Bad Bunny, the league has added:

  • “Quieren quitarme el río y también la playa / Quieren el barrio mío y que abuelita se vaya.” (“They want to take away my river and my beach / They want my neighborhood, and they want grandma to leave.”)
  • “Aquí mataron gente por sacar la bandera / Por eso es que ahora yo la llevo donde quiera.” (“They killed people here for flying the flag / That’s why I carry it wherever I go.”)
  • “De aquí nadie me saca, de aquí yo no me muevo / Dile que esta es mi casa, donde nació mi abuelo.” (“No one’s going to run me out of here — I’m not going anywhere / Tell them this is my home, where my grandfather was born.”)
  • “Fueron 5,000 que dejaron morir y eso nunca e nos va a olvidar.” (“They let 5,000 people die, and we will never forget that.”)

Those lines don’t function as “art in the abstract.” The NFL presented them as civic messaging — without bothering to ask the audience.

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Photo by Kevin C. Cox/Getty Images

Why am I being subjected to a deluge of unpaid political commercials when all I wanted to do was watch millionaire athletes dramatically move an oblong ball around? Maybe enjoy a few big hits, a few bad calls, and, yes, perhaps place a wager without getting a sermon at halftime? Is that really too much to ask?

And once the NFL decides one side gets free political advertising, why stop there? Why shouldn’t every cause group get a slot? At least we’d have clarity. “Tonight’s halftime: The Coalition for Whatever.” Next year: “The League of Extremely Loud People.” Keep going until the entire broadcast becomes a charity auction for ideologies.

Then there’s the implicit holier-than-thou attitude of the players and performers who shill on cue for “the right side of history.”

Nothing screams ‘liberation’ like outsourced production under an authoritarian regime.

If the NFL wants to present its stars as moral authorities, maybe the league should be required to release the supporting documentation. Police reports. Court records. Paternity suits. The pharmaceutical list required to keep a battered body functioning after one too many concussions. Divorce filings that reveal what the slogans never will.

After all, a convicted dogfight organizer or a wife-beater looks ridiculous wearing “Say Her Name!” or “Justice Now!” on his back — and the league has fielded enough of those case studies to fill a warehouse.

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Photo by Jaydee Lee SERRANO/AFP via Getty Images

Add another layer of absurdity: Many of the league’s millionaire geniuses take a knee against “oppression” and “slavery,” with stern faces and closed-fist salutes, while remaining blissfully indifferent to the fact that their uniforms, sneakers, and promotional trinkets come from supply chains tied to modern forced labor. Yes, geniuses. Nothing screams “liberation” like outsourced production under an authoritarian regime.

At that point, the old Marxist-Leninist label becomes less a slogan and more a job description.

Lenin is often credited with the phrase “useful idiots.” Whether he coined it or not, the category exists for a reason: privileged Westerners eagerly carrying propaganda for movements that despise the civilization that makes their privilege possible. The NFL has decided that this is not merely acceptable, but brand-enhancing.

One more thing: If the NFL is now acting as an advertising agency for political organizations, shouldn’t the IRS — along with state and local tax authorities — take a fresh look at the tax and regulatory advantages that help the league operate like a monopoly?

Now would be an excellent time.

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Woke UK video game backfires: 'Extremist' Amelia becomes viral symbol of British pride



Hull City Council in Yorkshire, England — an area overwhelmed by third-world asylum seekers in recent years — wasted no time setting a high bar for self-owns this year.

The local authority teamed up with the East Riding of Yorkshire Council and the woke media literacy outfit Shout Out UK to create an online choose-your-own adventure video game targeting young Britons titled "Pathways: Navigating the Internet and Extremism."

'The government is betraying white British people.'

To the chagrin of the re-education tool's makers, one of its supposed villains, a purple-haired patriotic character named Amelia, has been appropriated and used to great effect in counter-messaging campaigns by the right and other critics of the woke British establishment.

The game

Hull City Council announced last year that the game would be "made available to schools, education settings, and community and youth organizations throughout the city" and used to teach youths "about the dangers of extremism and radicalization."

One of the stated objectives of the propaganda tool was to "demonstrate the local threat picture of Extreme Right Wing activities specifically."

The game offers six scenarios in which users decide the path the protagonist, Charlie, will take.

In the third scenario, Charlie — who is referred to as "they" — watches a video that claims both that "Muslim men are stealing the places of British war veterans in emergency accommodation" and that "the government is betraying white British people."

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Screenshots from Pathways: Navigating the Internet and Extremism.

If the player decides that "this seems unfair" and has Charlie engage with the post, Charlie ends up inadvertently sharing the content with online bad actors, sending the player's radicalization risk score through the roof.

Charlie avoids arrest long enough to attend class with Amelia in the third scenario, where she suggests that "immigrants are coming to the U.K. and taking our jobs."

Amelia features prominently in the fourth scenario, where she is introduced as a close friend of Charlie who has "made a video encouraging young people in Birdlington to join a political group that seeks to defend English rights."

After Amelia — who is depicted holding the Union Jack and a sign that says, "No entry" — asks Charlie to join a group called Action for Britain and shares a video on-theme, the player is given the option of having Charlie: ignore the video, like the video but not join the group, or share the video and join the group.

If the player chooses the third option, their radicalization risk score increases just as it will increase if they agree in the final scenario to go in Amelia's place to protest "the erosion of British values."

Screenshot from Pathways: Navigating the Internet and Extremism.

Regardless of inputs, the game inevitably suggests that exposure to supposedly extremist views such as love for nation, concern over wage suppression by immigrants, and cultural erasure warrant Charlie's referral to an anti-terrorism expert and re-education on "how to engage positively with ideology and the difference between right and wrong in expressing political beliefs."

The Telegraph, citing official documents, revealed last year that the British government listed "cultural nationalism," defined as the belief that Western culture is "under threat from mass migration and a lack of integration by certain ethnic and cultural groups," as a terrorist ideology.

The game concludes with the suggestion that only after receiving counseling on "harmful ideology" from a hijab-wearing counselor is Charlie able to "rebuild their confidence, find their identity, and continue their college course successfully."

New pathway for Amelia

Amelia has recently featured in numerous viral online videos and memes where she warns of the Islamification of Britain, champions national pride, promotes normalcy, and criticizes leftist policies.

In a popular Amelia meme shared by Elon Musk, the character underscores that the English people aren't "immigrants" and "didn't 'arrive' in England. They became England — over more than a millennium."

In another popular meme, Amelia is shown bonding with Charlie over their common love of country, getting married, then starting a family.

Amelia has also been depicted as the Lady of the Lake of Arthurian legend, handing an armored knight the sword Aerondight; in photo-realistic images mocking political figures; and in a multitude of other images making a wide range of political commentary.

British journalist Mary Harrington writing for UnHerd noted that "Amelia stands as a potent illustration of how desperately an officialdom accustomed to comparatively comprehensive public message control is struggling to adapt to the recursive online environment."

When pressed for comment, Hull City Council referred Blaze News to the U.K. Home Office, which did not respond. Shout Out UK for comment similarly did not respond.

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The conspiracy that gave Liz Wheeler ‘chills’: Was there a FIFTH plane on 9/11?



September 11, 2001, remains the most tragic day in American history, but almost a quarter-century later, mysteries surrounding the events of the day have yet to be solved.

And one TMZ documentary that BlazeTV host Liz Wheeler admits shockingly gave her “chills” involves United Flight 23, which was grounded when the World Trade Center was hit. However, the plane may have been another one that hijackers were attempting to weaponize.

“I watched the creepiest — I’m talking chills up and down your arms — documentary recently. The absolute creepiest. It was actually a documentary done by TMZ, believe it or not. I’m not particularly into celebrity gossip,” Wheeler says.

“It’s actually quite a well-done piece of investigative journalism about September 11, 2001,” she adds.


The narrative that the documentary challenges claims that four planes were hijacked by al-Qaeda terrorists on 9/11, and the documentary provides evidence that there was actually a fifth.

“What if I presented evidence to you today that there was actually another plane — another plane that was supposed to be hijacked too? And not only was there another plane that had hijackers on it, but the government found out about it afterward. And so did the airlines. They knew about it. And to this day, they’re covering it up,” Wheeler explains.

The documentary features the claim, according to a flight attendant, that one passenger on the plane was a man who was wearing a burka.

“How would you react if you were on an airline and there was not only a person in a full burka — not just a hijab, a full burka with just the eye slits — but a person with hairy hands, a person that the flight crew were pretty certain was a man?” Wheeler asks.

There was a male “bodyguard” sitting next to the man in the burka, who flight attendants recalled was “sweating profusely.”

But these were not the only Middle Eastern passengers of note aboard the flight.

“So we have four Middle Eastern passengers in first class. Someone, an individual dressed in a full burka with just eye slits. ... The other man in the tan suit was trying to peer into the cockpit using his son as an excuse,” Wheeler explains.

These same passengers argued with the flight crew about taking off quickly instead of being delayed to hand out food.

“As if that’s not creepy enough, once the news broke that the plane was not going to be taking off because the other planes on 9/11 had hit the towers, had hit the Pentagon, these same passengers asked a question of the flight crew,” she continues.

One of them asked, “Did they get the White House?”

Once they were all deplaned and the airport was being evacuated, someone on the ground noticed that there were people back on the aircraft, 20 minutes after the plane was locked.

When it was investigated, it was discovered that the hatches to the plane had been reopened.

“So, what does that mean? Did someone enter the airplane through the floor hatch to remove, I don’t know what, evidence, weapons after everyone exited the plane?” Wheeler asks. “Well, that’s not just a hypothetical question. A weapon that had been planted on a plane was found at JFK.”

When TMZ reached out and even filed a Freedom of Information Act request, the organization was ignored.

“How can you not think that this is a government cover-up?” Wheeler asks, shocked. “The 9/11 commission didn’t even interview the pilot of that plane.”

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