But those who are familiar with the way the Super Bowl and public spectacles like it function are aware that there are often two narratives at play. The first is what actually happened and the artist’s intention, while the second is how the spectacle is interpreted, synthesized, and discussed within culture. How the two converge, through accuracy and analysis, largely amounts to a wider discourse, no longer owned by the artist and, instead, shepherded by the public. Or whoever has the largest platform. For a few minutes, after Bad Bunny’s historic performance wrapped, the prevailing narrative was not that he had handed the trophy to an actor playing his younger self, but that he instead gifted it to Liam Ramos, the five-year-old boy savagely detained by ICE in Minneapolis.