Original subtitles

dramatic music

[cheers and applause]

[MC Lyte] The National Football League welcomes you

to the Pepsi Super Bowl LVI Halftime Show.

LA in the house, baby! LA!

[announcer] Forty-three Grammys,

19 number one Billboard albums,

and 5 legendary artists on the biggest stage in Los Angeles.

[Jesse] Absolute superstars all coming together.

And at the top of it

is one of the greatest producers of all time.

[Adam] Huge moment for hip-hop.

[Anderson .Paak] These people weren't supposed to make it

outta where they come from.

For them to be some of the biggest icons

the world has ever seen,

it will go down in history forever.

[Fatima] And when you listen to the music...

...when you listen to the hits back-to-back-to-back-to-back,

you can't help but feel a certain weight.

[laughs] Yeah.

[Adam] Don't get it twisted.

We are literally fitting a music show

in the middle of a football game.

[Cap] Due to the size of the set,

this is tremendously more ground cover

than we've ever put out before.

[Jesse] How do you build something in eight minutes

and take it down in six and still make it something

that people will never forget?

We're gonna make history.

This is gonna be the greatest halftime show ever.

[producer] Five, four, three, two, one.

-[Adam] Yo, man. -[person] How you doing?

[Adam] Top of the shelf.

Yo! [laughs]

Let's go from the top, man. How you feelin'?

-[producer] Good. I'm good. -[Adam] All right, cool.

[drummer playing rhythm]

My name is Adam Blackstone,

and I am the musical director of this year's

Pepsi Super Bowl Halftime Show.

I am in charge of everything live music oriented,

from curating the set list

to mixing, to pre-recording,

to making sure everybody's vocals are cool and in sync.

Everything that has to do with music, man,

it falls on me as the musical director.

And this is my fourth time being

a part of the Super Bowl, third time being

a part of the halftime.

I was blessed to do Justin Timberlake 2018.

I then did Shakira and J.Lo in 2020,

which was super huge for Latin culture.

And I'm so excited for this one, man.

This is gonna really, really break some barriers

and knock down some walls.

This is really big for the culture,

really big for hip-hop.

I've worked with Dr. Dre now for the last ten years.

We did Coachella 2012.

And ever since then, man,

we've had an incredible relationship.

I'm grateful that he trusts me with his sound.

You know what I'm sayin'?

And that's gonna keep me pushing, for sure.

My job is to create a song list.

Dre knew the songs that he wanted to do,

but then he trusted me to kinda put

everybody else's set together.

And to squeeze that in with one artist in 13 minutes

is already a task.

But now I have five artists to concentrate on,

and so the time is split.

Time's up, over, blaow

Snap back to reality oh, there goes gravity

[Adam] Dr. Dre, Snoop Dogg, Eminem,

Kendrick Lamar, Mary J. Blige.

I think my first sketch might have been 16 or 17 minutes.

And then I get to try to show each artist,

"Hey, you like this?

Cool, but we're over time.

Where would you wanna cut?"

After about seven, eight, nine sketches,

it got signed off on as far as the songs.

And then from there, we've been tweaking.

[somber brass melody]

[person] I wasn't ready. Sounds awesome.

We're on version 18 of our set list.

And I think that it still might be going

with tweaks here and there.

[forceful brass music]

Play that. Play down like that.

It was very difficult for me to get down to 13 minutes.

That's it.

[Adam] Dre texted me after the first rehearsal.

He was like, "Man, I got goosebumps.

Like, you know, this is gonna be epic."

And Kendrick, very similar vibes and feelings.

And so I'm seeing Mary J. Blige this week.

I'm seeing Marshall Mathers this week, and Snoop as well.

So I'm hoping that they give the same sentiment.

[playing sustained note]

[line trills]

-[Jesse] Hey. -[Seth] Hey, Jesse.

[Jesse] Are you at the gig yet?

[Seth] Almost leaving the hotel.

I'll be there.

Yeah, the one thing I wanna talk about is,

so you know, it looks like the phone gag is gone.

I'll confirm it with Dre tomorrow,

but the phone gag is gone.

You heard the track, how it goes

from Kendrick to Em and back?

[Seth] Yup.

I guess the look is, Dre is in the studio.

And, like, he's controlling that.

[Seth] Mm-hmm.

So it's a little bit more of a studio look.

So I think that'll be cool.

[Seth] Do your best. All right.

-All right, see you later. -[Seth] I'll see you tonight.

Bye. Thanks. Bye.

Some of the shows that we've produced

at Jesse Collins Entertainment.

We've done the BET Awards.

I've been on the Grammys for over 15 years.

But last year was my first time doing

the Super Bowl Halftime Show.

And it went well 'cause I get to come back.

You never know.

So it's always special.

I remember when Dre and Snoop first came out,

the culture exploded.

We loved it.

It was a whole new sound in hip-hop.

So for me, to now reconnect on this moment

is something I'll never forget.

[line trills]

Hey, what's happening?

I heard that yesterday and, Curtis, you tell me

that Dre asked for the stems,

and he added, like, a kick somewhere?

So version--an official 18 is probably coming.

[Curtis] We had a sit down yesterday by Danny Chang

on Tuesday, version 19.

Nineteen?

-[Curtis] Correct. -Okay.

You know, let's just get a final sign-off from Dre,

and then let's just make the sign.

[Curtis] Rock and roll. No problem.

All right.

Thanks, bro.

So today, I'll go by dance rehearsal.

I'll see Fatima and the dancers,

and I know all that will be great.

And we'll just have a good creative conversation

on where we are and, you know, what we gotta do to execute.

I can't wait for you to see this!

Oh, my God.

Oh!

What up, sir? How you doing?

You good?

Which song did they do so far?

"m.A.A.d city" into "Alright."

If Pirus and Crips all got along

They'd probably gun me down by the end of this song

Seems like the whole city go against me

Every time I'm in the street, I hear

Yawk! Yawk! Yawk! Yawk!

Man down, where you from?

Frick who you know, where you from?

Where your grandma stay, huh, my man?

This m.A.A.d city I

Run, run, run, run

Fatima Robinson is so much more than a choreographer.

She is a creative visionary.

She is a director.

Fatima figures out a way to tell a story through dance.

And she's from LA.

She understands what the West Coast culture and hip-hop is.

And so she's created movement in this show

that will represent that for the world.

All's my life I has to fight

I got the call a few months back

from Dre himself, who said, "You know,

I be up here thinkin' a lot."

And I'm like, "Yes, Dre?"

And he's like, "I'm thinkin' about doing the Super Bowl."

And I'm like, "Yes!" [laughs]

We gon' be all right

Dre and I have known each other for over 20 years.

I was on the "California Love" video.

We did the first-ever hip-hop tango

in the "Been There Done That" video.

Man, Mary J. and I go back so far.

I did "I'm Going Down" with Mary, "Family Affair."

Snoop, aww, my Snoop!

[laughs]

I think the first thing I did with him

was "Drop It Like It's Hot."

And it's so great working with all these artists

'cause it does really feel like family.

Boom, my life

-[dancer] Whoo, whoo, whoo -Yes.

[dancer] Whack, whack

But don't pick up.

You're not picking up this one. Just whoo.

[both] Whoo, whoo, whack, whack

[Fatima] Yeah.

This Super Bowl is particularly exciting

because it's in LA in the new stadium.

And having such a legend like Dr. Dre

lead this body of music and these artists who are all

still so incredible and relevant now makes this

such a special Super Bowl.

And so it just feels good to see

hip-hop has gone from the clubs to now

Super Bowl Halftime Show.

It's awesome.

But homicide be looking at you from the face down

What MAC-11 even boom with the bass down

For me, Tia is my drill sergeant.

She puts everything in perspective, formation, boom.

She drives home your intention of your moves.

Now, tell my mama I love her, but this what I like

[Fatima] Hey, hey!

Adrian, you got Kendrick down!

Oh, my God! [laughs]

Ah, I love it.

Adrian is just my right-hand man.

Adrian, just quick question.

Should we put a--

could we just put a march on that?

They just march into that?

Ah!

-[Tia] Ooh. -[Fatima] Yes. Yes!

You know, Team Fatima, we really mesh so well together

because we bounce ideas off of each other in the room.

Flip, flip, flip, flip!

All's my life...

It's day one, but I think it was

so much anticipation of this day

that today really went really well.

So good, yeah.

We got super far in our choreography,

further than I thought we would go.

Well, you just keep on, like, hittin', hittin', hittin'.

Four, five, six, seven, eight. One, two, three.

We came in with zero choreography,

and we got through a lot of it

because we were able to co-create

and bounce off of each other's ideas.

And five, six, seven, eight, boom.

Two, three, four, five, six, seven, eight.

[line trills]

Hello? No, okay.

I mean, listen, I think the track is

sitting around 12:50 or 12:55.

So there's room to put a little breath in it.

Adam's in the studio with Dre right now,

so maybe we'll have a version.

I'll hit him now and see if he'll have a new version

before we meet tonight.

So we got that one.

[reporter] This will be the third straight year

that Jay-Z has had a hand in the halftime show,

the result of the partnership

between Jay-Z's Roc Nation and the NFL,

in which Jay serves as the entertainment advisor

for the halftime show.

[Jana] NFL does sports, and Roc Nation knows culture.

Roc Nation knows music.

I think it's just how you say, "LA--

what defines LA more

than Dr. Dre?

And the sound and how it transcends Los Angeles even?"

This is hip-hop getting the platform it deserves.

Da, da, da, da, da

It's the one and only D-O-double-G

- Snoop Dogg! Snoop Dogg!

Da, da, da, da, da

You know I'm mobbin' with the D-R-E

Yeah, yeah, yeah

[musicians playing dramatic music]

[Jesse] So part of the creative process,

a lot of the artists went in the studio

and they recorded vocals,

and that gives them a chance to practice.

And it gives us a chance to rehearse

without having them have to sing out

or rap through every pass.

Sometimes, we can just play the vocal

and let them lip a rehearsal to rest vocal cords.

On on one, on on one, on on one.

[Jesse] So the fact that the artists

are willing to go in for this and lay vocals down

helps all of us.

-[Adam] What up? -'Bout everything.

-What's up, girl? -How you doin', Adam?

-I'm great. -How you been?

-I'm good. -That's good.

You just got in town or you were here?

Yesterday. Just got here yesterday.

Oh, good, good, good, good, good.

Yeah, we just gon' play the shit for you,

and then, you know.

[Adam] Dre was thinking of a different Mary song.

I was thinking of a different Mary song.

Fatima was thinking of a different Mary song.

She was really the hardest for us to land on.

I had to really sell what this moment was.

Me being a Mary fan helped that too.

Come on, everybody, get on down

'Cause you know we gots to get it crunk

Mary J. is in the spot tonight

And I'ma make it feel all right

Come on, baby, just party with me

Let loose and set your body free

Leave your situations at the door

And when you step inside, jump on the floor

Let's get it crunk up on

So--so--so right there. Let me get...

And when you step inside, jump on the floor

And let me keep going from there.

And when you step inside, jump on the floor

Let's get it crunk up on the

Let's get crunk up on it

In this dancery

Hey, hey, yeah

You gotta dance for me

Just dance for me

Come on, now dance, dance

Get percolatin'

[vocalizing]

Hater

[Adam] I wanted to dive into, you know,

what the people would want.

And we ended up with "Family Affair" and "No More Drama,

and I'm excited. She seemed happy as well.

And Mary's another one.

She said, "Yo, if you want me to do 'No More Drama,'

you gotta extend that joint 'cause I can't even

get to the part..."

Hater

[Adam] "Unless you give me this part."

And I was like, "Mary, we don't got time."

She was like, "Adam, just figure it out."

I was like, "Okay." [laughs]

So that Mary moment has continued

to be an intense conversation based off of people havin'

their own favorite Mary joint.

And I'm grateful that Dre trust me

with his sound and to lead us into the right direction

musically and sonically.

No more, no more, no more

No more

I'm tired, so tired

No, no, no more

Whoo! Shit, okay.

I think we got it.

-That shit is soprano. -I was about to head in--

-yep, mm-hmm. -[laughter]

So we're at Barker Hangar.

[Jesse] This is SoFi for us for the next couple weeks.

Zooms are great just to get the nuts and bolts,

but to really get those special ideas,

it takes everybody, I think, vibin' off of each other

and hearing the music

and just getting into the moment of,

and people just sparking ideas and conversation,

which you can only do it in person.

Five, six, seven, eight, and Dre.

Dre is coming here. That's the Glitch, right?

That's the Glitch Mob.

Then Snoop is coming through with the drill team.

And then...

Da, da, da, da, da

Drill teams, da-da-da-da-da-da.

now they come together right in here.

With the D-R-E.

Boom, and then that's when you go up the stairs.

[hip-hop music playing]

[producer] Okay, can you stop it there?

Huh?

So basically, Snoop does his whole verse on the roof?

Yup, mm-hmm. Yeah.

Because they're conversing then, rapping,

when they're sayin', "Da, da, da, da, da."

[Adam] Music and dance go hand in hand.

Sometimes, Fatima will ask me for the music well in advance

so that she can put her vision to what it is.

Or sometimes, she might say,

"Hey, we've been rehearsing to this."

And the good thing about Fatima is,

she might make her own edit.

You know what I'm sayin'?

And say, "Check out what I did.

Now, you just put the sauce on top of it."

And that's, you know, such a genius thing.

And one of my attributes is kinda, like,

just enhancing people's vision.

Dig you put that Inglewood?

Did you put that in there?

No.

[Adam] She challenges me. I challenge her.

At the end of the day, it's a constant learning experience

for me because she has such creative juices flowing

through her that she sees sometimes the vision

and hears the vision before it's even

actually into fruition, so.

[Fatima] So Adam, can you build another two more bars in there?

So he goes, you know, "Give it up for my boy, Snoop!

It's the mother... D-R-E."

You know what I mean?

-Well, I was gonna-- -[Fatima] Okay.

You just said what I was actually about to say,

-which is reverse. -[Fatima] Okay.

Why don't we start with the Dre name?

Da, da, da, da, da, it's the mother... D-R-E.

'Cause right now, he's sayin', "D-O-double-G."

-[Fatima] Okay. -[Jesse] Right.

So why don't I reverse it, and he can own the moment

without even having to add more bars.

Okay.

Da, da, da, da, da

It's the one and only D-R-E

-[Fatima] What's up? -[Jesse] Yes. Yes.

Snoop Dogg!

[Adam] And then keep talking. Keep talkin'.

What's up, SoFi? [indistinct]

Okay, got it. I should put that there.

[Adam] Raise it up! Raise it up!

Give it up for my boy, Snoop Dogg!

See, I thought it was about [indistinct].

Got it. I see what you're sayin', Adam.

-I see. -Okay, cool. Yeah.

We just gotta sell that to him because

he's not a different lyricist type of person.

-So we just gotta do it. -[Fatima] Yes.

I think he'll get it once he sees.

-[Fatima] He'll get used to it. -Yeah.

[Fatima] Yeah, okay.

[Jesse] Now, as we've gotten

into two weeks before the show,

Adam is more important than ever

because as we start to find out that, like, oh,

we need another four bars here so somebody can get there.

Oh, let's cut two bars here because we don't need it.

All those things, that's what Adam does.

And he has to do all of that on the fly

and still maintain the musical integrity of the piece.

All right.

That was actually useful.

Every time we come together, we accomplish something.

[Fatima] Uh-huh. Easy breezy.

upbeat music

[Cap] My name is Cap Spence.

This is my 21st Super Bowl Halftime Show

as staging supervisor, the person whose department

is responsible for getting everything

from outside the stadium onto the field,

assembled mechanically,

powered up with electricity and data

in five to seven minutes.

[Jesse] Cap Spence's Super Bowl Halftime history.

He's been on it probably longer than anybody

on the crew right now.

He knows how to motivate the field crew

to get this done.

He has his own way of doing it.

It's very unique, but it works.

They get it done.

dramatic music

[Cap] All Super Bowl Halftime Shows

have their own gravity of some sort.

But this particular one, due to the size of the set

and the individual pieces in the set,

is significant in that they're taller, they're heavier.

This is tremendously more ground cover

than we've ever put out before.

The structures in the middle,

which we refer to as the neighborhood,

consist of Dre's studio, a nightclub,

Snoop's house,

a hamburger place, on and on.

Along the sidelines, these black pieces here,

once these are parked in place,

the ground cover deploys out from that

towards the center from both edges.

And it represents an aerial view of Compton.

[Adam] Compton is Dre's home.

And he carries Compton with him to this day.

This show is a tribute to Compton in so many ways.

[Jesse] The creation and the concept behind the set

really sits with Es Devlin and Dre.

I don't even know how to describe Es

other than that she is an incredible visionary.

But she's done everything from Grammys

to Olympic ceremonies, plays.

She's done everything.

With anything, and this is no different,

it has to start with understanding music,

understanding where the music comes from.

For me, Compton, like anywhere else,

has its cultural icons.

And they're ordinary things, but they've become iconic

because of the people and the music

that came from that place.

That's how icons are formed in people or in architecture.

The influence that those streets, through Dre,

through Kendrick, through many others,

have had on the sound of the world's music

is extraordinary.

Es found some places that were significant to Dre.

There are set pieces that you can find in Compton.

There's Tam's Burgers.

There's the MLK Memorial.

The Compton map is on the field.

There were so many different ways

that he could have gone with this show,

and this is the way he chose to go.

[indistinct chatter]

What's this shit feel like?

I mean, did you see you and Dre ever doing this shit?

Going back '94?

[Jesse] Today is day one of rehearsals.

After months of Zooms and phone calls

and looking at pictures and animatics,

today was the first day

that Dre got to walk in and see the vision,

the vision that he's been wanting to see from day one.

And he's gonna see more of it.

By Sunday, it'll all be in here.

The first da, da, da, da, da, because they're filming you,

they wanna say, "And the one and only D-R-E."

And then you throw to Snoop.

-Da, da, da, da, da. -Where am I sayin' that?

Normally, at the top, Snoop says,

"The one and only D-O-double-G."

They wanna say--

The crowd ain't gon' go for that.

Okay, go ahead. Go ahead.

I don't understand what you're saying.

So watch--can we just listen to the beginning for a second?

Snoop's mic is gon' be hot here too, right?

-Yeah. -So maybe me--

Da, da, da, da, da.

-D-R-E. -No, no.

Like, why ain't we sayin' it's the one and only D-O-double-G?

Why isn't he sayin' that?

We should keep it there.

We didn't have him up yet.

We just had you there, and then he comes up a little later.

Listen to it one more time.

That sounds weird as shit 'cause

-I'm so used to hearing it. -I know, but Dre--but Dre--

I just know what the fans like.

You can't make them change they mind the night of.

When you hear that, the first thing you say is,

"Snoop Dogg!"

There's 100% one shot that we can show you,

right, 'cause it's really wide. He's over there.

-You're over there. -Yeah, there's not a two-shot.

No, it's not one shot you can show.

You can cut.

You know, we're here to figure out the blocking, a'ight?

[Fatima] Mm-hmm. Mm-hmm.

I like the song the way it is.

I don't wanna change the song.

-Okay. -Okay. So I have a solution.

Once we keep it to sayin', "Snoop Dogg!"

right, "I'm mobbin' with the D-R-E.

Yeah, yeah, yeah, yeah."

Let's let Dre address us for those four bars.

We gon' figure that out. You know what I'm sayin'?

And that is his throw to Snoop.

So we gon' take...

[Seth] When you have five artists,

the biggest question is,

how does the show come together?

Like, how are they gonna work together?

How are they gonna collaborate?

-[all] Snoop Dogg. -Mm-hmm, okay.

You know I'm mobbin' with the D-R-E.

-[all] Yeah, yeah, yeah. -SoFi!

-What's up, SoFi? -Yeah, waving your...

[Seth] You can't just have them each rehearse

their own individual piece and then just

puzzle a piece up together.

They have to be there together working.

-Yeah. Okay, okay, okay. -Okay, that's what we're doin'.

All right. All right.

[Seth] There's no way a five-headliner show

with artists of this magnitude,

who all could do 12 minutes on their own easily,

there's no way this works without Dr. Dre.

Who's Snoop's stand-in?

Snoop, your stand-in is right here.

[Seth] Being the person that the other artists trust

and they can look to and know that if he says

this is gonna work for the show, we can all trust that.

California

Knows how to party

[hip-hop music playing]

Cut. Cut the track, please.

[Dionne] So you'll walk through.

You'll walk up stairs that are along the side.

And then you're on the roof.

As co-executive producer, it's my job

to really work with all of the different creatives

who are involved in the show, whether it's the director,

lighting, wardrobe, choreography,

set design, to make sure that we can execute

the vision of our artists.

[dramatic hip-hop music]

Yeah, SoFi!

Everybody, get up right now!

Guess who's back home

Yeah

We still doin' that, right?

Yes, sir.

-Ha-ha. -Yeah.

Take it off, Dre.

It's still Dre, yeah, AK

Though I've grown a lot, can't keep it home a lot

'cause when I frequent the spots that I'm known to rock

[Fatima] That was a good first day.

[Jesse] Yeah, it was a great first day.

We saw Fatima's brilliance on display,

saw the choreography, saw the movements.

She's got Dre dancing.

Record! Record! Record!

Oh, my God, record!

[Tía] That's the best part of this job.

It's like being at a Unplugged every rehearsal,

every performance.

But to see their chemistry, 30 years of chemistry,

it's an amazing thing to watch.

Still got love for the streets, reppin' 213

[Jesse] Seeing Dre's comfort with everything,

his excitement, same with Snoop,

seeing the two of them together.

And he was happy with it.

All right. That's comin' together.

Yeah.

And I still got love for the streets

It's the D-R-E

upbeat music

[Adam] So when the creative came back

and Eminem was gonna have, like, a band,

me and Dre had tossed around the idea of it being

maybe, like, an All-Star band.

And, you know, Dre has had his hands

in so many people's career.

And even for the new blood, having Kendrick and then,

you know, Anderson .Paak, man, just one of the most

phenomenal talents...

...it felt right for me

to have him up there-- you know what I'm sayin'--

as a Dre protégé.

[Anderson .Paak] I got my first big break with Dr. Dre

back in, like, 2015 with his Compton album.

He invited me to the studio.

He heard a song of mine called "Suede."

And he just, he blasted it, turnt it up,

and had it running back, like, five times.

Once he gives you this...

[as Dre] "That's gangster.

Hey, P, that's gangster."

[in normal voice] I knew I was on after that.

I was on private jets, jewelry.

Everything's different after that.

- Time's up, over, blaow! -Three, four.

Snap back to reality, oh, there goes gravity

Awesome.

[Anderson] I grew up in Oxnard, California.

It's not Los Angeles, but it was close enough.

And we grew up to Dre and Snoop and Cube and Tupac,

and that was everything. So it started like that.

Eminem is another musical hero.

When him and Dre got together, they did something unique,

something that was daring.

And I remember watching those videos,

listening to that music.

I always loved their stuff.

Snap back to reality, oh, there goes gravity

With the drums on "Lose Yourself," a lot of people

might not pick up on the intro where he's rapping the bass,

the kick-drum pound, you know.

Boom, boom-boom,

boom, mm-mm, boom-boom, mm,

du-du-boom, dun, dun, boom-boom.

It's real intricate.

It's not just, like, a simple kick-drum pattern.

It's got these different little variations

that you have to sync up with.

And that was probably the hardest part,

just memorizing that.

[Adam] When I saw Anderson play,

I felt like he was a natural.

I felt like he did his homework.

Two.

You better lose yourself in the music, the moment

You own it, you better never let it--

Yeah.

I was just giving him a few points in the studio

really just about what Dre was used to hearing, like,

making sure, you know, nothing changes too much.

But I wanted him to give his own flavor on what that was.

So I think he did that very well.

Do not miss your chance to blow

This opportunity comes once in a lifetime

You better lose yourself

[Eminem's "Lose Yourself" playing]

[Anderson] It's a very intense song.

And you only got one shot, you know?

So you can't miss your chance to blow.

And, um,

opportunity comes once in a lifetime.

You only get one shot

Do not miss your chance to blow

This opportunity comes once in a lifetime

You better

[Fatima] All right, you go right there!

[reporter] NFC Championship time.

49ers at the Rams.

[reporter] Rams will play at home,

but niners have dominated this matchup

between these two coaches and these two teams recently.

[caller] I'm gonna take Matthew Stafford

over Jimmy Garoppolo.

[reporter] I just think between that

and the upward trend of what we've seen from the Rams,

I think they go 24-21 and pull off the win at home.

[Jesse] You know, the Rams going to the NFC Championship,

it was great for some people.

Dre got very excited.

He was very happy.

[Jesse] My biggest fear was Dre wanting to go to the game.

-I can't. I gotta be here. -Oh.

So I want that trailer.

Absolutely.

Okay, that's really cool.

When we explained that Sunday is a big rehearsal day

at Barker Hangar, he said,

"As long as you guys get a TV there, I'm good."

[producer] Three, two, one, track.

[dramatic hip-hop music playing]

[Fatima] We have all the buildings up

for the first time today.

And it really was about timing and about moving

from each song and each artist for the dancers,

for the artists themselves to see--

to run a show essentially.

Now they rush in.

Go up!

This is our first time seeing

all the pieces come together.

-[laughter] -The bike is killing me.

[Fatima] And we knew it was gonna

be a bit of a train wreck.

Some people weren't gonna know where to go.

They shouldn't all be in a line.

-No, they should spread out. -Move around.

Come around!

[Fatima] But overall, the bones are there.

Now we just have to keep rehearsing it

till we get our timing down, fix little musical things,

fix entrances and exits.

But now that we see how it all strings together...

These days, everybody wanna talk

Like they got somethin' to say

...we're making it so that it all feels connected.

It's Eminem.

-Eminem? -Yeah.

Eminem, just come over. Support.

His palms are sweaty, knees weak, arms are heavy

There's vomit on his sweater already, mom's spaghetti

[Fatima] Eminem actually called me to his room.

And he said, "I'm having a little choreography envy.

He was just like, "Wait, why is all this happening around me?

I don't get any of that?" [laughs]

So I had to explain to him how all those people

come rushing in on him and how they all bob their head

while he's rising up.

And I think his moment is gonna be one of the biggest

moments of the show.

You only get one shot

Do not miss your chance to blow

This opportunity comes once in a lifetime

You better

-[Mary] Whoo! -Whoo!

[Mary] That's it!

Yeah!

Whoo!

That's a good first run.

All right, everybody, we're gonna take just five minutes

here, five minutes to regroup.

[Jesse] We were about to do another pass,

and Eminem and Kendrick were like, "Don't you

wanna watch the last minute?"

And I was like, "Oh, shit, we gotta

let the moment be the moment."

And so we all stopped.

[commentator] Garoppolo under pressure.

-Intercepted by the Rams! -[all shouting]

And the Rams are going to Super Bowl LVI.

What's up, boy?

You gotta do [...].

You go to [...].

Let's go, [...]!

We got Dre in the house!

California love

[all] Ba-da-da-bup-bup-bup

California knows how to party

California...

[Jesse] To see Snoop and Dre's face

and Kendrick's face and everybody

that's from LA and really everybody

in that room, even people with 49er jerseys,

I think they became Rams fans in that moment.

We all came together.

And so it was an incredible thing.

Whoo!

[person] In the city

[Adam] The energy in our rehearsal room,

you could just tell it was like they wanted

to do this for their city.

All right, here we go. Stand by, everyone.

Here we go with the tracks.

[hip-hop music playing]

[indistinct chatter]

Yeah, this has been fun as shit.

And the energy in the fucking stadium,

especially now that the Rams won.

Yeah, man.

-You happy? -Very happy.

I can't wait to see you finish.

-Man, this is my gig. -Yes.

[Jesse] We're ahead in some places and behind in others.

It's like we're ahead with everybody

knowing what they have to do.

We're behind in the details, especially the ending.

suspenseful music

One, two, three, four, five, six, seven, eight.

[Fatima] So we got the Black Diamond Drill Team

from Compton, and they bring just a whole nother energy

to the performance.

Everything is, like, double-time to 'em,

and it has that bit of militant

mixed with a bit of dance.

They syncopate their hands with the smacks on the legs

and the kat, kat, kat.

I love it so much 'cause it reminds me

of when I was a young girl in the hood, dancing,

making up routines on the streets with the friends.

You know, we used to do all of that.

Come on. Okay.

I see y'all.

Black Diamonds bring a authenticity

to the performance.

[Celeste] My name is Celeste Harris.

I'm the director of the Black Diamonds

Drill Team and Drum Squad.

I've been drillin' since I was five years old,

so it's in my blood.

And these are my children, you know?

They're amazing.

The Black Diamond Drill Team is a community drill team.

We started in '91.

We're a family. We work together.

We have fun together. We laugh together.

We go through different situations together.

Anytime my members need me, I'm there.

[playing energetic percussive rhythm]

Drill is basically the feeling you get in your soul

when you hear beats.

And you move your hands with your feet,

but you give it your all.

Sometimes when I see some members

just really get into it, I say, "Okay,

you have the Drill Team Holy Ghost

'cause this is a feeling.

And the way you on, it feel so good."

serene music

[Diamond] When I first heard that we were gonna

be performing at the Super Bowl, we were at practice.

It didn't really hit me.

I'm still in shock.

[De'Ja] I don't think it's gon' hit me until

I'm actually, like, really finna perform at SoFi

and Snoop is walkin' past me.

It's just, I don't know, so many, like, emotions,

but it's so exciting.

[Celeste] Heard Snoop, Dr. Dre growing up in Compton,

and being from our community and witnessing some

of the stuff that we have seen and been through

what we've been through.

It's just amazing how they developed and how they grew.

And being at practice and rehearsals just, like,

it felt like we doin' something positive.

And I always tell them every time we go perform places

or whatever, you never know who might see you,

so always give it your all.

So to see them from the first practice

all the way until now, I'm just really,

really proud of all my Diamonds.

[producer] Okay, if everybody can take a seat, please,

we're ready to get started.

[cheers and applause]

Welcome Super Bowl LVI field team members.

[all] Whoo!

[Cap] In 13 days from today,

the teams will return to their locker rooms,

and the halftime show will take place.

This show is

at the white-hot center

of the hottest media spotlight

on Earth.

During that halftime show, each of you

and your fellow field team members

will move a set

that is state of the art with lighting,

video, sound,

pyrotechnics, and all manners

of dancing and shaking of the booty.

[cheers and applause]

[Cap] This year,

it's gonna be a whole nother ballgame

'cause we got big pieces and a lot of 'em.

The amount of time to do this, first time we do it,

it'll take us about a hour and a half.

The last time we do it, it had better take us

five to seven minutes.

It's an unheard-of amount of time

to do something like this.

Clockwise turn!

Most of the operational and production capabilities

that I have, I learned in the military.

[supervisor] Turn in three, two, one!

[Cap] I was in the army for ten years.

I went to Vietnam two times.

Well, you're right in the middle of the field,

so it's either that way or this way.

And I got out of the army.

I went immediately to work for a hippie rock and roll band.

[supervisor] Towards me, towards me!

[Cap] And it's a problem- solving process, you know,

that involves people and equipment and moving stuff.

In the military, they just train you to do that.

[supervisor] Three, two, one, push! Push!

From the back end, push that way!

Go to this side.

[Cap] There's been a couple of Super Bowl Halftime Shows

where I've said to the producers,

"You won't see this go on the field

in five to seven minutes until game day.

It just won't happen.

But game day, it will happen."

Keepin' it straight! Keepin' it straight!

Turn right! Drop in three, two, one!

-Little back! -[indistinct yelling]

Good job, guys!

suspenseful music

[Tia] So today is our last day

here at Barker Hangar.

We've been rehearsing all week.

Dre, if you can make it here when you walk out to do that.

[Dre] How many people are gonna be in here when I do that?

Three. Those three guys. Yeah, the same ones.

[Dre] You had a problem with somebody, or you had a--

-No, it was always three. -[laughter]

Tonight, we'll have all of the artists,

Dre, Snoop, Mary,

Em, Kendrick, Anderson .Paak.

They'll all be here, and we'll run it through.

Obviously, don't tell anybody about our special guest.

[dramatic hip-hop music playing]

50 Cent is our special guest.

You know, keeping 50 a secret has been a--

been a little bit of a challenge.

It means that, you know, we've referred to him

as special guest on paperwork.

And we just haven't answered the question when people

have asked, you know, who it is.

And we just kept it on a need-to-know basis.

It's your birthday

[Jesse] He's so excited.

Loves everybody in the performance.

They all love him.

He's excited to do the upside-down thing for us

to see him actually do it.

So, you know, the energy will just change

with him in the building.

[applause]

-[Fatima] That's it. -[Tia] The dance was off.

[Fatima] Yeah.

Definitely blowing the building on this one, right?

All right, so where is young Marshall?

[Seth] This Super Bowl Halftime Show is by far

the most complex show we've ever attempted to do.

Every day, every run,

the show gets a little bit better.

And it's like molding clay.

You're making slight tweaks, slight changes.

You're building it every day.

So every rehearsal matters.

Every time that we're able to do a run of the show,

it gets a little bit better.

And it's just been incredible to watch them

not only collaborate, but champion each other,

support each other,

wrap their arms around each other.

And I think that's been the most special part

of the rehearsal process.

[Hamish] All right, everyone, this is official wrap.

We can start to pack this in.

[Jesse] We have all the tools to make something great.

The records are right.

The creative is right. The choreography is right.

Now we just have to capture it.

And if we capture it, we're gonna be great.

Next stop, SoFi.

suspenseful music

[reporter] SoFi Stadium, located in the city

of Inglewood and home to Super Bowl LVI,

hailed as an architectural masterpiece.

At an estimated cost of $5 billion,

the 70,000-seat stadium is the most expensive in NFL history.

[Seth] All the carts that have been at the hangar

for the last week and a half, they were loaded onto trucks

and brought over to the stadium.

The way the stadium works is that it has

one of the biggest, widest service levels

of any stadium in the world.

So the whole Super Bowl halftime stage is

currently sitting underground.

Gets wheeled out of the tunnel for rehearsals.

And it won't be leaving the building

until after Super Bowl halftime ends.

[Cap] All right, here we go.

Five, four, three, two, one.

Let's go out. Moving out. Moving out.

Looking good. It's looking good.

Good job, 25! Good job! Good job!

All right, the last two pieces

coming out of this tunnel right now.

Two minutes, 23 seconds so far.

That means nothing, of course.

You know, it's all about the end.

Today, we have additional 387 field cast,

40-somethin' dancers.

We have bicycles. We have cars.

All things we have not had up to this point.

It looks incredible. Are you guys timing it?

Yeah, we're at 10 1/2 right now.

It was under ten to get the carts set.

[Cap] You know, there's 44,000 square feet of ground cover

and 2,000 square feet of neighborhood.

[Jesse] And this will get more taut.

It looks like the way I used to make my bed when I was 12.

It didn't, like, have, like, that--

It didn't have the exact squareness to it.

There were no edges.

No, it was, like, that, like, ah!

The mattress was covered.

[Jesse] I think our biggest worry right now is the nodes.

When the dancers are dancing,

the tarp was bunching up like bedsheets.

And so we can't change the choreography at this point,

so we have to figure out how to make this thing work

so that the dancers can do

what they're supposed to do on it.

So if we had to do it right now,

-you see the nodes. -[Hamish] Yeah.

-[Fatima] Yeah. We see 'em. -You see everything.

[Cap] We're talking about a tremendous amount of stuff

to get out here on the field in a finite amount of time

and get it perfect.

And we just aren't there yet.

Today's Sunday.

It takes 45 minutes now.

You know, our dress rehearsal is Wednesday,

so we need to have it correct at that point.

[child] Hi, Dad.

Hi there, baby.

Give your brother a kiss for me.

Give your brother a kiss.

Mwah.

Daddy loves you.

Daddy loves you.

Okay, what time is the halftime gonna be?

5:20, 5:25, 5:30?

'Cause I wanna try to run as close to real.

[Jesse] Okay.

[Dionne] This show is actually built for TV.

Sometimes you're oriented one direction,

and sometimes you're oriented in the other direction.

And there's something going on in each room.

So as a viewer in the stadium,

you're never gonna get the full experience really

because you're only gonna be able to see one side of it.

But through the lens, it'll really tell the story.

I think that television helps you

to piece that all together in the order

that we want it to play.

[Hamish] All right, everybody, let's go back to the sidelines.

We're gonna take a 15 here, and then we're gonna go again.

At the very beginning of 50 Cent

when they do the double clap,

is it possible--when all of the dancers do that,

is it possible to be more on a head-to-toe

to capture more of the room

so that you see everybody's doing this double clap?

One of my strengths as a producer

is my attention to detail.

And that's something that Jesse really leans on me for.

So as we're watching rehearsals,

that's something that I really step in on.

And Hamish and I speak the same language.

And I'm really able to go through every shot with him.

On Kendrick, you have all of the dancers

who are kind of doing that, like, shotgun move.

Can we get a straight-on of that?

Because of my love for music and dance,

I'm hyperaware of Fatima's choreography.

So making sure that on those moments

where there's a big move, that Hamish

is covering that the way that Fatima

might want it to be covered.

[Jesse] How do you feel?

[Seth] I feel good, man. It looks even better.

The only thing is, the reprise is so long.

There's, like, such a gap before the music comes back in.

[Jesse] No, I--we're gonna-- I think he was trying to wait

-for Dre and Mary to hug. -[Seth] Gotcha.

[Jesse] But look, we have control of that.

[Seth] Sure.

[Jesse] So Hamish can call that.

[Fatima] There was a lot of talk about the ending shot.

In rehearsals, we had them ending on the floor.

But when we got here, it just didn't feel dynamic enough.

At the end, give them some kind of pose,

some kind of rock star thing.

They'll do that, and then we're done.

[Fatima] Okay. At the end.

-For all the artists? -Yeah.

And so we decided to have them end on the rooftop,

which was so much more dynamic.

[Dionne] Can Mary step just a little bit behind?

Just take a couple of steps back, Mary.

[Hamish] Step back just a little more.

A little more. Stand right there.

Okay, these are the new poses.

Yes, I think we fixed it.

-[Jesse] Are you excited? -[Roger] Yeah.

[Dionne] Are you gonna be here for the rehearsal?

You know what? I told him I'm not.

You know why? 'Cause I don't wanna see it.

[Dionne] You wanna be fresh? Oh, I love that.

Yeah, absolutely.

Yeah, Kendrick and Dre.

[Jesse] Today is a huge day.

Today is our first full dress rehearsal.

Everybody in wardrobe loading in in real time.

[Dionne] We're also making our backup...

[Jesse] Yes.

In case anything happens on show day.

Let's say all the cameras go down and you still

have to show something on TV...

[Jesse] Yes.

[Dionne] You hit play on that dress rehearsal.

It's time of day. It's everybody in wardrobe.

It's exactly how it will be on Sunday.

And that's what goes.

[hip-hop music playing]

[Mary] Like, more like that?

[Jesse] So you want that earlier?

[Mary] That earlier. Yeah.

But earlier, we were waiting for the screen.

[Mary] So get the lights ready.

-[Jesse] And then hit it. -[Mary] Storm is coming.

Yeah, it's called the mud spin.

-[Jesse] Okay. -[Tia] So it's a slow burn?

So get it ready.

And then by the time the screen come, agh!

There's shit all over the place.

-[Jesse] Okay. -Like, that's even better.

[Fatima] Mary, I just have one note.

Smile at the beginning just a little bit.

Smile? Okay.

Yeah, when you do that kick, mm,

it's just like, give a little, like,

-you're up there having fun. -Okay.

[Fatima] 'Cause right now, it looks like you're frowning.

-This is-- -I know, babe.

-So many people tell me too. -Same.

But, uh-uh, I will compensate. I got it.

Yes, okay. Thank you, baby.

Yeah, the Mary note was when we get to "No More Drama,"

start it simple and elegant.

But as she starts getting into "No More Drama"

and starts getting that tempo, don't go to the strobes,

-but definitely pick it up. -[Fatima] All right.

Okay, great. Great.

[Dre] I'm starting like this?

Yes, that's it. That's it. There's one other thing.

Remember we did that cracking of the knuckles for piano?

-Yeah. -Remember? You have time.

Like, you know, milk this a little bit.

Then when you play, can you look to the right a little?

It'll be just nice to get that face look right there.

-Okay, let me try that. -All right.

-Thank you. -All right.

[Fatima] Dre is so committed to this process.

And it's widely known that he is a perfectionist,

and he is gonna take all the time that he needs

to get something right.

-How we look? -Good.

We're gonna be on time.

We're trying to get the Tupac thing pushed through.

Oh, that's gon' happen tonight?

Well, Adam's got the track.

I'm just trying to get it cleared.

So if it doesn't happen on this pass,

it'll happen at some point.

I know that was a long shot 'cause I just hit him with that

just a couple of hours ago.

But you hit Adam Blackstone with that.

[Dre] Yeah.

This would be a much better piano chord

-than "Fur Elise," you know? -Right. Right.

[Fatima] This most recent change was in between Eminem

and "Still Dre,"

there's a piano interlude

with the Beethoven song "Fur Elise."

[playing Beethoven's "Fur Elise"]

And that leads into the beginning of "Still Dre."

Well, Dre decided he wanted to use

the piano interlude from "I Ain't Mad at Cha" by Tupac.

Did he do it?

Yeah, that's what he said. He did it.

Yeah, I'd rather play that.

[Jesse] All right.

[Adam] There has been creative juices flowing this morning.

What that means for me is that I am time coding and redoing

a big segment of the show just to try to let him

hear what is in his head.

I don't know, but it'd be great if we could that.

-Yeah. -Then I can just act it out.

[Adam] And, yeah, I'm getting blasted by all departments.

This is probably gonna happen all the way up

until Saturday, Sunday.

And of course, because it starts with the music,

it's all on me if it goes down or if it goes up

or if it goes double down.

So I'm trying to hold it together and keep my composure

so that all departments, I can lead

by showing them my calmness.

But inside, I'm going crazy.

[crew member] [indistinct]

It's just a piano interlude, right?

It's just instead of... [hums "Fur Elise" melody]

...he wants to go... [hums different melody]

...no vocals changing.

Keep working.

All right, I'm slowing him down.

I'm gonna keep going. Okay.

[reporter] Football fans across the world

are gearing up for game day.

[reporter] And right here in Los Angeles,

everything's kicking into high gear.

From stadium preps to the star-studded parties,

the city is buzzing with football fever

as we count down to Super Bowl LVI,

now less than 48 hours away.

[Cap] We got it on in 6:47 tonight.

So I'm very happy.

Just doing it over and over and over,

the time just falls away like scales, almost, you know?

If you're not working on speed, it just comes naturally.

[Hamish] All right, everyone, we're gonna go

in about three minutes here.

We are here at what I'm calling the wrap rehearsal,

W-R-A-P.

This is our last run-through before you see

the real thing happening on Sunday.

I'm excited for what's about to happen.

This is a culture changer, a music changer.

We gon' shift the world in a couple days.

What's the deal?

Seth?

So there's an issue. We don't have camera one.

[Hamish] Can you hear me, please?

-That's camera one. -And that's the main camera.

That is the main-- the whole show is on one.

[Jesse] So tonight is supposed to be a nice little easy,

light run-through.

And technology had other plans.

All right, everybody, thanks for your patience.

Here we go.

You know, we just had cameras that didn't come in,

audio issues, all of it one right after the other,

boom, boom, boom, boom, boom.

[Jesse] He's saying stop. He's saying stop.

He's saying stop.

He's saying stop.

[Dionne] What happened?

He wants to see it up here on the screens,

but we don't have that tonight.

So he's not gonna see it tonight.

-[Jesse] No, game day? -Yeah, it is. Yeah.

[Jesse] Game day? Game day?

[Jesse] We're having a technical problem.

Oh, yeah.

[Jesse] We're on a very tight schedule with the NFL tonight.

We were supposed to have our first run done by 7:50,

then the second run straight up at 8:00,

and off the field at 8:15.

We have to be off the field by 8:30.

So if we don't do this, we get no more chances until Sunday.

But he's saying he doesn't wanna

do it unless he can see it.

So if he can't see it, he doesn't wanna do it.

Yeah, he went down to talk to Dre.

[Jesse] When we were out there,

I was explaining the issues.

Listen, the screen isn't working.

This isn't working. He wants it to be perfect.

And then magically, at that moment when I was like,

"You gotta run," and he's sayin',

"I don't wanna run till it's running,"

and then it came on, and I was like, "Look at that."

[Hamish] All right, here we go, everybody.

Counting the pre-roll. Let's clear the field, please.

[Jesse] NFL let us have our second run after all

'cause we really needed it.

Artists needed it.

We all needed to walk into the show confident.

The crazy thing about tonight was,

the plan was the first run, addressing notes and perfect.

Second run was supposed to be the disaster run.

We were going to pretend the cameras were going down

and that audio was going down.

We were supposed to-- all of our contingencies.

We had planned out

the disaster run as the second pass.

And we didn't have to pretend.

The disaster was like, "Oh, no, no, y'all want a disaster?

Let me show you guys what disaster can be."

I'm glad that this happened tonight

and we were able to work through it.

[Adam] Everybody that's in here workin' hard for us

and makin' this thing happen, everybody is fantastic.

And thank you so much.

I appreciate it.

[cheers and applause]

dramatic music

[Todd Kaplan] Every single year,

the Pepsi Super Bowl Halftime Show

is the most viewed and most talked about

music moment of the year.

We have assembled a powerhouse lineup of stars

to take the stage.

Dre, why did it have to be Dre and his super squad?

I'm not trying to be egotistical

or anything like that, but who else could

do this show here in LA?

-Mm. -[host] No one. No one.

Can I get a prediction on the game?

I gotta go with LA, cuz. LA. This is

-Okay. -What?

[host] Los Angeles Rams Super Bowl champions.

[Todd] We set up a press conference

before the Super Bowl.

And this is the first time publicly

the talent gets to really address the media

and talk about their vision for the show,

what they're feeling.

The vision is to do what I do,

just leave it all on the stage.

[Adam Harter] The press conference allows us

to build that momentum,

that excitement, and that anticipation

for the performance.

We wanna make sure everybody knows

that this is one of the best halftime shows ever.

Not only that, we wanna inspire kids,

and say, "Okay,"

and maybe they can look up and say,

"Okay, I can get there. I can do that one day."

[reporter] Well, the big game is upon us.

And for the first time in almost 30 years,

it's being held in Los Angeles.

So it will be the first Super Bowl

for LA's brand-new SoFi Stadium

since it was completed in 2020.

[MC Lyte] The National Football League welcomes you

to the Super Bowl LVI Halftime Show.

The Pepsi Super Bowl LVI Halftime Show.

[laughter]

Okay, look at you confusing me.

The National Football League welcomes you

to the Pepsi Super Bowl LVI Halftime Show.

To hear my voice introduce the halftime show

for the Super Bowl, how do you bring it to life?

Welcomes shouldn't be taken lightly.

Welcomes you.

You know, you want to feel welcomed.

So I wouldn't say, "Welcomes you."

There are so many other words you can use.

But when you use welcome,

you wanna make people feel welcome.

Come on in. It's the Super Bowl.

[Seth] The Super Bowl is expected to reach

well over 100 million viewers.

The halftime show typically

is the highest rated piece of the game.

[cheers and applause]

There are so few things left in culture

that we share as a community.

Hey, hey! Rams house, baby!

[Seth] To me, that's an opportunity,

a responsibility.

There's just nowhere else that you're gonna feel

the weight of everybody in our country

at the same time.

And that's just the power of the Super Bowl.

[Todd] On average, let's say the Super Bowl is pulling

around 100 million viewers.

So that means this would be

500 sold-out Madison Square Gardens at once.

[lively jazz trumpet playing]

About two hours away from one of the most

epic concerts ever being forced into a football game ever.

-[laughter] -And I'm very excited.

We callin' it Dre Day here.

Whoo!

And this is how we prepare, man.

God has been good. We woke up this morning.

And, you know, everybody is in their right mind and healthy.

And we're very thankful to do what we do.

I'm really blessed to do what I do, play music for a living,

have the hearts and the ears

of people watching these shows,

and I'm having fun.

I'm gonna enjoy this Super Bowl for sure.

'Cause it's game day, baby! Let's go!

Game day, baby.

[spectator] We live in action.

Had to wear the Kobe jersey today.

Mama mentality. Boom, boom, boom.

You hear what I'm sayin'? I'm just excited!

[Fatima] You see the excitement in the neighborhood.

People, like, emptied their driveway

and are selling parking in their driveway.

[Dionne] Yeah, oh, I saw.

On the corner over here, this guy had a sign,

2.50 parking all day, and it was a driveway.

[Fatima] Yeah, it was a driveway.

[Dionne] I'm like, "Make your money, boo."

Y'all look so good.

[De'Ja] I think my mama's crying right now

'cause she just called me and she was crying.

Good way, though. Good tears.

I'm nervous, but I'm not nervous, if that makes sense.

There's a lot goin' through my head.

I just feel butterflies.

[De'Ja] You feel me? Yeah, that's it.

Yeah, there's butterflies going through all around.

[Celeste] This experience is historic.

And I don't know, I'm just so anxious to see 'em,

and I'm happy for 'em.

[all] Go Mary! Go Mary! Go Mary!

[all cheering]

I just wanna say that I am so happy

to be here with such amazing, talented,

wonderful human beings.

It's been such a long journey to this place,

but you guys have been so good.

And I thank you so much.

I really, really do.

[voice breaking] And when you're out there...

[cheers and applause]

heartfelt music

...when you're out there today, dance from your heart.

Make everybody proud.

And just be the amazing you that you are.

You know, so many people have studied

and trained and trained and trained

for this moment right now.

So I'm happy for you.

A lot of dreams are coming true today.

And I'm so happy to be part of that.

Thank you, everybody.

[cheers and applause]

Thank you so much for lettin' us be part of this.

-No problem. -Thank you, Cap.

[Cap] Super Bowl LVI Halftime Show,

probably five minutes out.

Like Tom Petty said, "The waiting is the hardest part."

But not much longer.

-Are you gonna get the bird? -Yeah.

[Dionne] All right, y'all.

[Cap] Move out! Move out! [indistinct]

Come on, cameras, let's do it! Do it! Do it!

The countdown's started.

[Dionne] Game day is such a weird thing for Super Bowl

because it's really the point of no return.

Show 'em what you got! Let's go!

[Dionne] You've rehearsed it. It's set.

And there's nothing that we can do

as producers that's gonna change what's

gonna happen in that moment.

Three minutes?

[Dionne] Everything that we've rehearsed over

and over and over, now we just have

to get out there and do it.

Less than six.

We had eight, so. Just for us.

Now, I don't know about the rest,

but I'm sure we beat eight.

Easy.

[crewmember] Dre is in position.

[Jesse] Good luck, everybody.

[Anderson] I think five seconds before they went on,

Snoop asked Dre--he was like, "Hey, cuz, is it

ladi-dadi-da or dadi-dadi-da?"

And then the lights went out and the show was starting.

[MC Lyte] The National Football League welcomes you

to the Pepsi Super Bowl LVI Halftime Show.

[producer] Seven, six, five, four,

three, two, one.

Live media and live picture.

[dramatic music playing]

[Snoop] Da, da, da, da, da

It's the one and only D-O-double-G

Snoop Dogg!

Da, da, da, da, da, you know I'm mobbin' with the D-R-E

[Dre] Yeah, yeah, yeah

Y'all know what this is!

So can y'all make some noise for my man, Snoop Dogg?

[Anderson] To see Dre with a genuine look of, like,

"Wow, I can't believe we took it this far."

You know, you could see a little glimpse of, like,

a little young boy from Compton that

was in there with the records

and messing around on the keyboards.

And you see him when the riser's coming up like,

"Hip-hop, we did it."

Yo!

[Dre] Da, da, da, da, da

It's the one and only D-R-E

Dr. Dre, you lil' busters!

Da, da, da, da, da

You know I'm ridin' with the D-O-double-G

[Snoop] West Coast, make some noise!

California love

Come on! Put your hands in the air!

Everybody, put your hands in the air!

Come on!

Everybody, put your hands in the air!

Put your hands way up in the air!

[Dre] Now let me welcome everybody

To the Wild Wild West

[MC Lyte] When Dre and Snoop were on top of the trailers,

as they were about to take their bow,

they put their hands up.

It was like taking all of that in.

It was important that it not be a peace,

that it not be a yeah, but it be like,

"This is all love right here."

I know that's a Fatima direction.

California knows how to party

[Jesse] Here comes the surprise!

-[Dionne] Oh! -Ahh! People losing it!

[both] We gon' party like it's your birthday

[Jesse] It all came together

for the 50 Cent part of the show.

I think everybody was genuinely surprised at 50.

[50 Cent] And you know we don't give a [...]

It's not your birthday

You can find me in the club, bottle full of bub'

Mama, I got what you need

If you need to feel good

I'm into havin' sex, I ain't into makin' love

So come give me a hug if you into getting rubbed

You can find me in the club

[Jesse] And...

-Wow! -[Dionne] Yay!

[Mary] Let's get it crunk up on

Have fun up in this dancery

We got y'all open and ya floatin'

So you gots to dance for me

Come on, everybody, get on down

'Cause you know we gots to get it crunk

Mary J. is in the spot tonight

And I'ma make it feel all right

Make it feel all right

Come on, baby, just party with me

[Dionne] I think the biggest moment for me was seeing

all of Mary's dancers on the roof and I was like,

"Wow, like, this is a moment."

-[Jesse] Go, go, go, go! - No more, no more!

No more drama

No more drama

[singing indistinctly]

Let's get up off your feet

Go get up

[singing indistinctly]

[yelling]

No more drama!

No, no, no!

[Adam] The Mary-to-Kendrick transition was very intense.

Man, I got goosebumps.

Seems like the whole city go against me

Every time I'm in the street, I hear

"Yawk! Yawk! Yawk! Yawk!"

Man down, where you from?

[Dionne] Stop!

[Jesse] Beautiful!

[Dionne] And stop!

Where your grandma stay, huh, man?

This m.A.A.d city I

[all grunting]

[Fatima] To be honest, the music drives it so much.

It's all about whether we wanna ride the beat

or whether we wanna ride Kendrick's lyrics

because I know Kendrick's gonna always

put his Kendrick vibe to it.

I want one, you want one

God got us, we gon' be all right, huh!

We gon' be all right, ha!

We gon' be all right, huh!

[indistinct] make you stop

Thinkin' you forgot about Dre

All right, ah!

[rapping indistinctly]

All right!

Ooh, look at 'em, y'all! [laughs]

[Kendrick] Just a bunch of gibberish

And they act like they forgot about Dre

[rapping indistinctly]

[Eminem's "Lose Yourself" playing]

[Eminem] Look...

[cheers and applause]

If you had...

Oh, God, this is beautiful.

[Eminem] One opportunity

To seize everything you ever wanted

[Anderson] You can't even imagine how that feels

to play in front of all these people

surrounding you just with respect.

[Dionne] Go, Anderson.Paak. Come on, Anderson.Paak.

Eh!

[Eminem] Knees weak, arms are heavy

There's vomit on his sweater already, Mom's spaghetti

He's nervous, but on the surface

He looks calm and ready to drop bombs

But he keeps on forgettin' what he wrote down

The whole crowd goes so loud

He opens his mouth, but the words won't come out

He's chokin', how?

Everybody's jokin' now

The clock's run out, time's up, over, blaow!

Snap back to reality, oh, there goes gravity

Oh, there goes Rabbit

[Anderson] And to still be able to control the audience

and control that energy is just, like, ooh, it's unreal.

He better go capture this moment and hope it don't

You better lose yourself in the music, the moment

You own it, you better never let it go

You only get one shot

Do not miss your chance to blow

This opportunity comes once in a lifetime

You better!

[Dionne] Whoo!

Whoo!

[cheers and applause]

[dramatic music]

[Fatima] For me, it was so important

for Dre to play the piano.

You know, he said, "It gives me butterflies

just thinkin' about playing in front of that many people."

But I told Dre, "You don't know how many

young men you affect by them seeing you

play the piano the way you do."

Whoo!

[Dionne] Whoo!

[Jesse] There we go.

-Hey, we got it! -[Dionne] Yay!

It's still Dre, AK

Though I've grown a lot, can't keep it home a lot

'cause when I frequent the spots that I'm known to rock

You hear the bass from the truck when I'm on the block

Ladies, they pay homage but haters say Dre fell off

How, homie?

The last album was The Chronic

They wanna know if he still got it

They say rap's changed

They wanna know how I feel about it

If you ain't up on thangs

Dr. Dre is the name, I'm ahead of my game

-[Snoop] Still -[Dre] Puffing my leaves

Still crushing the beats

Still not loving police

I'm still rockin' khakis with a cuff and a crease

I still got love for the streets, reppin' 213

Still the beats bang

Still doing my thang

Since I left, ain't too much changed

Still I'm representing for them gangsters

- All across the world -[both] Still

[Snoop] Hitting them corners in them low-lows, girl

And still taking my time to perfect the beat

And I still got love for the streets

[all] It's the D-R-E!

[Jesse] There you go! That's it!

[Dionne] Yeah!

[cheers and applause]

Yeah!

triumphant music

[indistinct chatter]

[Jesse] It takes a lot of teamwork

to deliver something great in the end.

We set such a high bar that you gotta live up to it.

I thought we're spot on because I see in their faces

that everybody got the message

that hip-hop is part of the American culture,

and you have to understand that,

appreciate it, and respect it.

Whoo! Yeah!

-We did that. -We did that, baby.

-Yeah, yeah! -[both] We did that!

Did you love it? Did you like it?

Was it a culture changer?

Game changer?

Music does that for everybody.

Universal language. We love y'all.

Thank y'all for tuning in, man.

-God is a great. -[person] Come on.

[Adam] Being in this neighborhood,

being in this stadium, being in this city,

being here for halftime just, I think,

gives people hope that you can succeed.

You know, it doesn't matter where you're from,

continue to dream.

[Cap] Another one bites the dust successfully.

No injuries.

We were on in under six minutes.

I come back because it's a special gig.

It's a human thing.

Bro, mm.

Ahh!

Music history, man.

[Seth] People just keep on saying the words history.

But I think what you're seeing with this reaction

is it speaks to the power of what these artists have done.

It speaks to the cultural relevance of their music

over the years and still today.

It really was, I think, eye-opening

for a lot of people who don't quite understand

how important hip-hop is to so many people.

[Dionne] Ahh, thank you.

-Yo. -You killed it.

Love.

It's really about doing something

that shows people that it's possible.

And hopefully, this opens a door

and creates a pipeline 'cause maybe we were the first,

but we won't be the last.

[all] Yay! Yay! Yay!

[all cheering]

[Fatima] I mean, the feedback has been incredible.

I was so happy that we represented

West Coast on such a level.

That is just iconic.

It's so amazing.

And it's just so true to my heart,

someone who grew up in LA

and who just loves hip-hop to death.

[Anderson] There's been so many great Super Bowl moments,

but I think it was probably one of the biggest

moments for hip-hop.

And Dre is one of the only people

that could actually pull this off for hip-hop.

Everything that we come from, we brought it,

and we brought it to the world to see.

It was just a beautiful, beautiful day

that'll go down in history forever.

[cheers and applause]

dramatic music

[baby giggles]

[seagulls cawing]