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On February 8, 2026, 120 million-plus viewers worldwide are expected to tune into Super Bowl LX. However, the battle on the gridiron will be a secondary attraction for many, especially those from Puerto Rico and of Puerto Rican descent (colloquially known as "Boricuas").
Their attention will be focused on this year's halftime show, headlined by Bayamón-born rapper and producer Bad Bunny. Renowned for songs like "Yo Perreo Sola," "La Canción" and "Me Porto Bonito," the pop sensation is expected to bring a distinctive Latin American flair to his set, representing Puerto Rican culture and creativity to an audience unlike any other.
Héctor Varela Rios, PhD, the Raquel and Alfonso Martínez-Fonts Endowed Assistant Professor in Latin American Studies at Villanova University, specializes in popular culture and writes extensively on the Boricua community, to which he himself belongs. From his perspective, Bad Bunny's upcoming performance in the Super Bowl halftime show marks "a high point for Puerto Rican pride," both within the U.S. territory and across the globe.
"He is not the first Super Bowl performer to claim Puerto Rican ancestry—Jennifer Lopez performed alongside Colombia-born Shakira in 2020—but he is the first island-born Puerto Rican to perform," says Dr. Varela Rios. "At this moment, he is our brightest superstar and absolutely adored throughout Latin America and the world."
To the professor's point, Bad Bunny is among the most successful musical acts touring today, having notched more than 7 million records sold, four diamond plaques and 11 platinums all before the age of 32. His popularity has not come at the expense of his art, either, with the rapper having won six Grammy Awards over the course of his career—including three for his latest album, "Debí Tirar Más Fotos."
According to Dr. Varela Rios, Bad Bunny's widespread appeal and critical acclaim can be traced to his authenticity, courage and swagger. Singing in Spanish, making deep-cut cultural references and broaching sensitive, seemingly taboo topics, the Latin American pop star has effectively built a following by unabashedly embracing his own identity. (Perhaps tellingly, he titled his second album "Yo Hago Lo Que Me Da La," or "I Do Whatever I Want.")
"Bad Bunny is proud of his Caribbean roots and keenly aware of the history of Puerto Rico, particularly since the U.S. took control, which influences his work," says Dr. Varela Rios. "In addition, he is very unapologetic about the content of his lyrics and performing style. It goes beyond mere shock with him; he relishes challenging assumptions of what being an artist should be or needs to be in order to 'sell records.'"
While this daring approach has netted Bad Bunny a number of accolades and a devoted legion of fans, it has not been without its share of detractors. Still, on the biggest stages and under the brightest lights, the celebrated artist has shown no inclination to shy away from controversy. Dr. Varela Rios predicts the pop star's Super Bowl act will be no different.
"If people took exception to Kendrick Lamar last year, be warned: Bad Bunny will blow you away," says the professor. "I would not be surprised to see thinly veiled, or just unveiled, political content.
"That said, Bad Bunny is a businessman, and one of the best I've ever seen. This is an artist who knows what to do and how to do it, and when the Super Bowl halftime show's lights go down, his performance will certainly be remembered."
Long proclaimed Italy’s “moral capital,” Milan is renowned worldwide for its significant contributions to fashion, design and the arts. Soon, another point of pride will be added to the city’s storied history, when the regional hub—and partnering town Cortina d’Ampezzo—plays host to the 2026 Winter Olympics in February.
Luca Cottini, PhD, is a professor of Italian Studies and an expert on the evolution of Italian culture, particularly through the 19th and 20th centuries. Recently, he shared some thoughts concerning Milan and Cortina’s successful joint bid for the Olympics, the themes and iconography expected to define this year’s opening ceremony and the symbolic significance of Italy’s selection as a host nation.
Question: What was the role of past major events in Milan and Cortina—like the 2015 World’s Fair and the 1956 Winter Olympics—in helping to elevate their appeal for these games? Luca Cottini: I’ll start by saying that although people notice world’s fairs less than the Olympics, they are more impactful to a city and country because they generate more revenue, business, political relationships and positive reputation. They are events in which all the world comes together and each country exposes its excellence, while the host nation brings a visibility that it would not carry otherwise. In 2015, Milan hosted the world’s fair, which generated a completely new fairgrounds area and a visibility of politics, industry, technology and modernity in a way that brings the city to a global stage. I would say that is when the ascent of Milan really started, especially as a desirable destination.
With Cortina, after the 2015 World’s Fair—and especially after the COVID-19 pandemic—the Dolomites became really a popular region for travelers to visit. Cortina is also symbolic to Olympic history, because it's the site of the first Olympics that took place in Italy, in 1956 during the reconstruction era. That was the Dolce Vita period, in the middle of the 1950s economic boom, and those games were followed by Rome’s Summer Olympics in 1960. They both represented a way in which Italy, coming out of the war destroyed, was reaffirming its rebirth.
Over the years, fewer cities have wanted to host the Olympics because they tend to carry a lot of economic burden, financial debt and little return on investment. In this sense, Milan and Cortina, helped by increased popularity after the world’s fair, sold themselves as a sustainable Olympics. Ninety percent of the buildings were refurbished from older buildings, and they will serve purposes after the Olympics. It’s difficult to tell whether it’s economically sound or not, but it is a way to promote two cities that are in big moments of growth.
Q: These Olympic Games will be celebrating Milan’s contributions to fashion. What is the city’s significance to the fashion world? LC: Milan is certainly the capital of fashion in Italy, and is one of the capitals of fashion in the world, along with Paris, New York and London. The fashion heritage that the city carries now in iconic brands like Armani, Versace, Moschino and Dolce & Gabbana is the outcome of a process that took shape in the late 1970s. Until then, fashion in Italy was mainly related to Rome, through cinema, and Florence, as that city represented a new Renaissance in the postwar years. But in the 1970s, much of this fashion world moved from those cities to Milan, because there was a conglomeration of labor, skills, capital and creativity that generated a complex productive and cultural system, or the so-called “Sistema Moda.” This is a particular approach to the industry in Italy that coordinates management and creativity around the figures of a big creative director and a big manager who work together in creating not just nice styles, but also sustainable outlets and markets in and outside Italy.
In turn, with its reputation, Milan gives the Olympics that seal of grandeur and coolness. The connection with fashion and promotion of uniqueness is part of the national rhetoric that surrounds what we call “Made in Italy,” this idea of luxury, styling, beauty, order and measure that is endowed in the Italian DNA.
Q: Andrea Bocelli—who also appeared in Torino’s 2006 closing ceremony—is supposed to sing once again in this year’s opening ceremony. Aside from his popularity, what is the symbolic significance of his selection as a performer? LC: Bocelli is an interesting case. He is a prototypical Italian success story, which is born in the peninsula but is then ratified outside of Italy. As Bocelli became a global sensation in the U.S., he then came back to his roots in Italy, where his voice has become a symbol of national unity, as epitomized in his solo concerto of Milan, during the pandemic, when he sang in front of the empty Piazza del Duomo, facing the city’s cathedral. In his Catholic faith and secular operatic repertoire, he symbolizes Italian culture as a similar piazza or open space where different voices can converge in a temperate balance. When you put together Bocelli, Mariah Carey and whoever else will be part of the ceremony, that same Italian identity will give rise to a new synthesis, as the encounter of tradition and novelty, grounded-ness and openness.
Q: The Olympic flames are supposed to be lit in two cauldrons—one in Milan and one in Cortina—each with a design inspired by Leonardo da Vinci. What was da Vinci’s importance to Milan, specifically? LC: Da Vinci is part of the fabric of Milan. He spent 20 years in the city, painting “The Last Supper” and working at Castello Sforzesco, as well as many other places. His footprint is all over Milan, in its design, walls, canal system and more. He is an archetype of the Italian mind in as much as it represents the combination of engineering and beauty. The word Ingenium in Latin, meaning “genius,” overflows in English into the word “engineering” and also “ingenuity,” which reflects the creative mind. Da Vinci represents the synthesis of Italian Ingenium as a combination of aesthetics and problem solving, which you still see in the city today.
One year ago, after a campaign that toppled Bashar al-Assad's repressive dictatorship, Ahmed al-Sharaa assumed the Syrian presidency.
Since then, the former rebel commander has worked to establish his credentials as a statesman, winning the support of regional powers like Türkiye, Saudi Arabia and Qatar—as well as recognition from the White House. Yet al-Sharaa and his transitional government have not been immune from criticism, particularly over their handling of domestic affairs.
Samer Abboud, PhD, director of the Center for Arab and Islamic Studies at Villanova University, is an expert on modern Syria and the wider Middle East. A year into al-Sharaa's presidency, he believes the provisional government has made incredible strides in some areas, like international diplomacy, while struggling to find its footing in others.
"There's no doubt that Syria's external image is becoming more positive. We see this kind of charm offensive, with President al-Sharaa taking to the world stage," says Dr. Abboud. "Also, most of the regional actors are very fond of al-Sharaa and were very happy for the Assad regime to have fallen. So, there's this external presentation of a transition government that is legitimate and has support, and I think that's largely true.
"The problem in Syria right now, of course, is what's happening internally. To begin, across the country, you have completely collapsed infrastructure—limited electricity, restricted access to running water and unreliable internet."
Much has been made of economic sanctions' role in contributing to these internal issues, with Western governments having historically limited the amount of aid and investment that could enter Syria. However, while Dr. Abboud sees these measures' elimination as crucial to the nation's progress, he also contends that ending restrictions alone is not enough to ensure the country's long-term stability and prosperity. Of particular concern, according to the professor, is the al-Sharaa administration's persistent claim "that 'free markets' could and would be a cure-all."
As he explains, "The problem is that there's literally no evidence to demonstrate that private enterprise is interested in social betterment in reconstruction cases. You can't rebuild a state and a society on the profit logic. When you look at Lebanon, after all the wars Lebanon endured, what did free markets—without a strong public sector—do for that country? Roughly 80 percent of Lebanese people live in poverty."
Beyond the troubles surrounding economic growth and infrastructural development, there also exist a series of fractures along ethnic and ideological lines. Wide swaths of Syria are currently controlled by militias with agendas at odds with that of the provisional government, and despite making inroads with one significant bloc of dissent (the Kurdish-led Syrian Democratic Forces), tensions are exceedingly high. Furthermore, a number of groups remain suspicious of the president and his intentions due to his past affiliation with Hayat Tahrir al-Sham, a Sunni Islamist group that traces its roots to al-Qaeda.
Navigating this delicate situation with poise and precision is something that al-Sharaa needs to master, contends Dr. Abboud. And, over the course of the past several months, it seems Syria's new leader has started to refine the skill.
"To illustrate, last year, at least 25 people were killed in a bombing at the Mar Elias Church in Damascus, and President al-Sharaa did not go to the site. In addressing the incident, he also didn't use the language of martyrdom, which is what you would typically do for any person—Christian or Muslim—who died in this context," says Dr. Abboud. "In June, however, they arrested the culprits, and he went and met the patriarch and went inside the church, and they publicized it.
"The first time, he was too worried about these internal influences—of being perceived by his base as having moderated his views. Right now, he very much finds himself caught in a balancing act, working to temper the forces that are compelling him to possibly do something that could worsen an unstable situation. But I do think that the two contrasts [represented in the Mar Elias Church episode] suggest that the president is learning and gradually figuring out how to do politics a bit differently."
In this vein, Dr. Abboud feels the next phase in al-Sharaa's evolution should center on reckoning with the history of the country's late civil war and encouraging a dialogue between those who supported the Assad regime and those who sought to overthrow it. In the professor's estimation, this step is essential to achieving a lasting peace in Syria.
"Currently, there are some memory projects and knowledge projects that are happening, but those are not led or facilitated by the state. And that's troublesome, given what we've seen in other conflict contexts," he says. "In Lebanon, for instance, the state has amnesia. The civil war is not in the textbooks, officials don't talk about it, and it's not commemorated nationally. But then, in many ways, the narrative of how it happened—who are the victims, who are the perpetrators—can totally shape people's lives."
Still, while much economic, social and humanitarian work remains to be done, Syria today finds itself in a position unlike any it's occupied in decades' time: one marked by possibility.
"In general, I envision an extended period of grace for the government and an extended period of hope," concludes Dr. Abboud. "Syria did not have a future under the Assad regime. Or it had a future, but one characterized by generations of isolation. Today, people, both inside and outside Syria, have an entirely different outlook."
