T-Mobile employs rhetorical proofs in their Super Bowl 50 commercial to appeal to the massive audience watching at home. They chose to hire a popular rap artist, Drake, to appeal to the masses in a commercial that mocks his music video for his song, "Hotline Bling." The commercial starts with Drake dancing in a colored box that is indiscernible to the box in his music video. This was a tactical move by T-Mobile because over seven hundred million people have seen these boxes on YouTube.com alone, this is over six times the amount of people that tuned in at the peak of Super Bowl 50, at one hundred and fifteen million people. T-Mobile easily appeals to CBS's viewers with a popular spokesman and good humor.

Drake kicks off the commercial by dancing in his loose, distinct style, when suddenly interrupted by three average businessmen, wearing their suits, who are obviously representatives of a competing cellular service company. The businessmen approach Drake in his cube, while production for the music video is still going on, and recommend a couple lyrical changes. "When you say 'Call me on my cellphone,' just add 'device eligible for upgrade after twenty four months.'" Drake pretends to love the changes and cracks a joke about his birth country of Canada, stating sarcastically "I've told a lot of people I'm from Canada, but I lied," because the cellular company paying him, can't make calls to Mexico or Canada. A few more restrictive lyrical suggestions to the song and the commercial ends with the businessmen asking permission to wobble in the cube, while Drake's song plays in the background.

The commercial primarily employs pathos using humor to appeal to the audience. I was watching the game, and when it came on I could tell it was going to be humorous by the way Drake was flopping around in his box, and the hilarious Jerry Lambert making an appearance as one of the businessmen. The ending was the funniest part: the businessmen posing and wobbling around like Drake, and seeing white, business-suited, representatives wobbling around like a rap star will appeal to most people's sense of humor. This is the humor that pathos gives us, the feeling of relatability that influences our trust. If you're one that listens to or are possibly influenced by Drake or his music, he could be the ethos element to the commercial. Most people would safely assume Drake wants his service to be perfect, in order to stay connected to the many people he must know. Being a rap star and creator of his own self-made image and style, Drake must trust the cellular company that he endorses. Some fans may even be content just knowing they have the same cellular service as their favorite artist.

This is the underlying message that the commercial is trying to send, 'If this superstar, Drake, uses our service, you should too'. The overall commercial was successful, it simultaneously back-handed the competitors while roping you in with comedy and sarcasm that persuades you to consider them as a wireless carrier. The restrictive lyrical changes that the business people make are the logos element in the commercial. "Streaming music will incur data charges ... just sneak that in there," one of the businessmen said to Drake. This isn't humor trying to relate to you, but instead it suggests a logical step of thinking, 'I pay for music streaming, but I shouldn't have to, that's absurd.' T-Mobile makes you consider these questions by sarcastically hinting it, with drake agreeing to all the obviously ridiculous changes.

This is the biggest example of pathos in the commercial; when the businessmen suggest all the insane lyrical changes. "You can't say you got exactly what you asked for, because we never give them what they want," another suit pretends to cover his mouth and adds, "unless they ask for hidden fees," followed by a collective menacing laugh, comparable to Dr. Evil and his henchmen. Fulfilling the image of the evil phone company that is always looking to nick you with hidden fees. Again, making you consider what hidden fees your own company is sticking you with.  This promotion was for their new program of T-Mobile's Stream All You Want for their incorporation with Apple music. Associating Apple with their brand was a smart move as well, because of Apple's widespread recognition. With the customer base of Apple, T-Mobile can associate themselves with a much bigger audience in addition to the fans of Drake. As much as a commercial can persuade you, this one incorporated more than one example of rhetorical proof. By tying in Apple, employing sarcasm, and riding Drake's star power, the commercial was successful overall in delivering its message. If T-Mobile gets an increase in customers after the Super Bowl, we will see if their Stream All You Want incentive was a success in drawing new customers to their wireless cellular service.

