How The New York Times Presents Explored Janet Jackson’s Infamous Super Bowl Moment — And the Apologies Surrounding It

The producers of Malfunction: The Dressing Down of Janet Jackson take us behind-the-scenes in this exclusive interview

Janet Jackson Super Bowl
Janet Jackson, photo via NFL

    Now that Britney’s free, what’s next? For The New York Times Presents, the answer is Janet Jackson.

    Malfunction: The Dressing Down of Janet Jackson, the newest installment of the FX and Hulu documentary series, seeks to bare the truth of those infamous 9/16ths of a second, a moment that had both global and deeply personal repercussions for everyone involved.

    According to showrunner Mary Robertson, the inspiration to look back at the events surrounding Janet Jackson’s 2004 Super Bowl performance came directly as a result of the feedback from Framing Britney Spears. “We essentially saw some folks saying, ‘How about Janet?’, and we thought that that was a good idea,” she tells Consequence.


    The 70-minute documentary, directed by Jodi Gomes, doesn’t just dig into the events that resulted in Jackson’s breast being exposed in the final moments of the halftime show. Instead, it paints a portrait both of Jackson’s remarkable career prior to that moment, as well as the cultural forces which made one “wardrobe malfunction” into a lighting bolt of controversy.

    In this interview, which has been transcribed and edited for clarity, Robertson and Gomes explain how they approached the material and the importance of capturing not just what caused the malfunction, but the controversy surrounding it. They also discussed Justin Timberlake‘s involvement in these events, as well as the bigger issue: who was asked to apologize for what, and when.

    When did the idea of taking a look at Janet Jackson’s story come about?

    Mary Robertson: In the days following the premiere of our first Britney Spears film, we honestly noticed that there was commentary and talk, especially on Twitter, about Janet Jackson — we essentially saw some folks saying, “How about Janet?” and we thought that that was a good idea.

    I think one of the things that we were so moved by in working on the Britney Spears film, and in watching that film engage the world, was the power of marrying really rigorous New York Times journalism with matters that others had perhaps trivialized.

    In taking great care and working to look at events from our recent history in context, to provide real perspective so that you’re not just looking at a minute or a day in isolation, you’re rewinding decades sometimes to understand the forces in the culture that were exerting influence upon the way in which we received that moment at the time.


    For all of these reasons, we thought it would be wise to bring our journalistic enterprise to the subject matter. And then we knew we needed a brilliant director and we called Jodi and we’re so lucky that she said yes.

    For you, Jodi, what was important for you about taking on a story that we’ve heard a lot of versions of?

    Jodi Gomes: I think the most important thing for me was a fact finding trip and being able to work with The New York Times and their wonderful reporting to, you know, really take a story that we all thought we knew from 17 years ago and revisit it with a fresh lens. To give it a voice, a new perspective, and then let us draw our own conclusions in today’s marketplace — to figure out exactly what happened back then.


    And more importantly, the why. Why did we react so strongly for 9/16th of a second of a breast reveal? That’s what’s always caught me — like, I actually saw the Super Bowl and I missed the incident at the time and so rewinding it 17 years later and looking at it for myself, I had a clear different perspective of what had happened. I just thought we should share that with the world.

    I remember at the time that it was a story that spread across everything — it was even a technology story, because of TiVo.

    Gomes: Yeah, that’s correct. And even like a year later, some of the founders of YouTube have said that they credit the malfunction at the Super Bowl as one of the reasons they wanted to upload videos. So it begat the creation of YouTube.

    In terms of understanding what happened, did you have a sense of there being big misconceptions that needed to be cleared up?


    Gomes: I don’t know that I thought there were misconceptions I wanted to get into. There was this larger-than-life performance, right? The Super Bowl is the biggest stage. And I remember this amazing performance that led up to the final seconds and there were unintended consequences for that performance.

    Within a quick timeline of that performance happening, we had immediate media outrage. We had immediate FCC movement. We had immediate congressional hearings. And I just remember thinking, boy, I wish America would pump the breaks and kind of take a breath here and really figure out what we’re so outraged about. I don’t know if that answered your question, but that, that for me was why I wanted to look at this whole thing.

    Robertson: I think that many of us don’t perhaps remember the totality of the story. Perhaps we never knew the totality of the story, and perhaps we don’t remember it. One of the things we worked hard to achieve in this film was to, you know, render the ways in which the Parents Television Council and the rising forces of conservatism were exerting influence over the ways in which we would perceive this moment and its aftermath. Perhaps we didn’t know that at the time. Perhaps we don’t remember that when we think about the indelible parts of this experience.


    I also think in retrospect — much as with the Britney film — our coverage of Janet in particular, in the immediate aftermath, seems at times strikingly cruel. I think that we, in retrospect, often find that perhaps we’ve been a bit too simple in our rendering of these women, public figures such as Janet and as such as Britney herself, at the time. It seems so clear in retrospect. So we hoped that we could deliver the images and the coverage, and then transport the audience to this time and then let that coverage speak for itself.

    Janet Jackson Metamorphosis Solaiman Fazel Las Vegas Residency

    Janet Jackson, photo by Solaiman Fazel