Read my review of the first episode: Chespirito Not Really on Purpose Review Episode 1
Lee este texto en español: Chespirito HBO Max, Resumen episodio 2. Origen del apodo Shakespearito
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Episode 2 Summary: “No hay mal que por bien no venga” (Every Cloud Has a Silver Lining) from Chespirito, sin Querer Queriendo
The second episode of “Chespirito not really on purpose” available on HBO Max, delves into the origins of Chespirito’s famous nickname and the challenges of the Mexican screenwriter and actor Roberto Gómez Bolaños. It explores the key moments that shaped the genius of the most viewed Mexican TV show.
The episode begins with Édgar Vivar, whom we remember for his roles as El Botija and Mr. Barriga, among others, directing a scene and asking Roberto Gómez Bolaños to adjust a script due to an actress’s absence. During this creative process, Vivar, impressed by Roberto’s talent with words, affectionately nicknames him “Shakespearito,” a name that soon evolves to become the iconic and timeless “Chespirito.”
In real life, Chespirito’s nickname is attributed to Agustín P. Delgado.
The plot advances nine years, revealing the growing tensions among the actors who started with Roberto on the radio (presumably Gaspar Henaine “Capulina” and Marco Antonio Campos Contreras “Viruta”). These now TV stars attack Chespirito for trying to mediate in their conflicts.
Tired of the mistreatment and pressures, Roberto expresses his deep desire to create the comedy he truly loves, seeking a more authentic path for his art.
In 1978, the popularity of El Chavo del Ocho (“The boy from the Eight” or “The kid from the Eight”) is undeniable. The actors are received as celebrities by their fans in Acapulco. While Roberto plans the next scenes, he receives a mysterious note that captures his attention. Meanwhile, Quico, feeling overshadowed, hints to Don Ramón about the possibility of starring in a new show, frustrated because he believes that Roberto doesn’t let him shine.
A flashback to 1968 in Mexico City transports us to the birth of Canal 8 TV channel. There, a young Roberto Gómez Bolaños looks for Sergio Peña. While waiting, he meets his friend Rubén Aguirre, then content sub-manager from the channel. Despite Mr. Treviño’s strong resistance, Roberto and Rubén, with ingenuity and determination, manage to access the studio. At that crucial moment, Roberto, with a premonition, comments: “I suspect you and I are going to reach very far”.
Roberto gets his chance to present his ideas to Treviño, who, with little interest, gives him only 15 minutes to convince him. Although his proposal for “El Charrito” sketch is rejected, Roberto doesn’t give up and manages to convince him with a new character: “El Ciudadano” (The Citizen), a figure who seeks not only laughter but reflection. With great enthusiasm, Roberto announces to his wife that he will play “El Ciudadano Gómez” in the pilot episode and, as a sign of his initial success, he arrives home with a brand new car.
Acapulco 1978. Mariano (El Chavo del Ocho’s director) comments that his sixth sense tells him that “something is rotten in Denmark,” a sign of future complications. Roberto talks to his brother Horacio about the enigmatic note. Horacio suspects that the note comes from Graciela.
Another emotional flashback to 1968 shows the conversation between Roberto and his mother. On her deathbed, she advises him not to stray from his loved ones in pursuit of his dreams (as his father did) and urges him to ensure that everything he does in life is truly worthwhile.
Shortly after, in the office, Mr. Treviño informs to Roberto that the “El Ciudadano Gómez” sketch will be suspended due to the tense political context of the time (the student movement and the unfamous Tlatelolco massacre by Mexican President Gustavo Díaz Ordaz).
Despite this setback, Sergio Peña and Roberto look for an alternative. In a touching moment, Chespirito’s daughter discovers him rehearsing his characteristic portrayal of Doctor Chapatín. With Sergio Peña’s unconditional support, Roberto presents his show, taking full responsibility for the project.
Cast of Los Supergenios de la Mesa Cuadrada
To form his initial cast, he carefully chooses:
- A young actress for a “not very cultured” character (María Antonieta de las Nieves, who would later give life to La Chilindrina).
- A “stiff, pretentious, vain” professor (Rubén Aguirre, future Profesor Jirafales).
- A “drunkard” for contrast and humor (Ramón Valdés, whom he considers “the Mexican actor who has made me laugh the most,” and who would become Don Ramón).
Thus, “Los Supergenios de la Mesa Cuadrada” was born, a show that quickly became a success. However, Treviño demands (under orders from the TV station owners) that Roberto make fun of competing actors, a practice that Roberto strongly dislikes. But he has no choice. His daughters, not understanding the jokes, prefer to go and play, highlighting Chespirito’s moral dilemma.
Back in Acapulco, 1978, Roberto arrives to his “mysterious appointment,” which, to his surprise, turns out to be a touching serenade with his wife, organized by his own children, a few tables away from Margarita Ruiz (his future second wife) and her fiancé Mariano.
Finally, a flashback to 1969 shows Roberto resigning because he refuses to write comedy that mocks people or goes out of style, and because his own family doesn’t understand the jokes.
The final scene of HBO Chespirito shows Roberto smiling as he sees a grasshopper on a piece of paper, a premonition of the birth of one of his most beloved and enduring characters: El Chapulín Colorado (The Red Grasshopper).
Who is Sergio Peña in the “Chespirito: Sin Querer Queriendo” series on HBO Max?
Sergio Peña was the director of the TV show “Chespirito” between 1970 and 1971, a fundamental period for the consolidation of his characters.
In the second episode of “Chespirito: Sin Querer Queriendo” on HBO Max, Sergio Peña is a fundamental character in the early stages of Roberto Gómez Bolaños’ television career. He is presented as a key supporting figure at Canal 8, providing his unconditional backing to Chespirito so he could develop and launch his programs. Thanks to Sergio Peña’s trust, Chespirito successfully launched projects like “Los Supergenios de la Mesa Cuadrada”, marking the takeoff of his iconic trajectory in Mexican comedy.
Sergio Peña in real life
Sergio Peña was a television director, producer, and pioneer in the Mexican television industry.
His career spanned for several decades, working with major figures and being part of the golden age of television in Mexico. His role, both behind the scenes and in content management, was crucial for the development of Televisa (formerly Telesistema Mexicano) and for providing a platform for emerging talents like Roberto Gómez Bolaños. He is recognized for his vision and for supporting innovative projects that would later become cultural phenomena.
A Cuban pioneer in television and cinema. He was born in Cuba in 1932 and died in Mexico City in 1995.
It was Sergio Peña who brought Rubén Aguirre to Mexico City, where he would later meet Roberto Gómez Bolaños and join the cast that would bring such iconic characters just like “Profesor Jirafales” to life. His vision and ability to identify and support new talents were decisive in the development of Mexican comedy.
In addition to his work as a director and producer, Sergio Peña also participated as an actor in various films, complementing his prolific career in the entertainment industry. Among his acting credits are the Cuban film “Cuba ’58” (1962) and “Affaire en La Habana”. His career left a significant legacy in Cuban cinema.
My personal opinion:
I loved the second episode of the Chespirito series. I must watch it again without pauses, because I was dictating notes (I use my cellphone’s voice recognition for most of my writings) for this summary. Although I wrote literal quotes between pauses, I preferred to leave this summary with very few spoilers so you won’t miss the MAX Chespirito series.
The setting, costumes, hairstyles, and even the makeup, everything is fabulous. I noticed the characteristic eye makeup, Priscilla Presley’s style.
I liked the pacing.
I do understand the frustration of some viewers with the flashbacks and the flash forwards. I took screenwriting classes and I know it would be very much simpler, also for the writers (Roberto Gómez Fernández and Paulina Gómez Fernández), to have a linear plot, “from the beginning to the end,” from Chespirito’s birth to his death, or to where his autobiography ends. But it’s enough to pay attention to the texts indicating the year and the place, and to weave together the plot of each timeline.
And I’m already looking forward to the third HBO Chespirito episode, which I’ll also review here.
I suppose we’ll never know if Chespirito’s amazing impact was due to the lack of competition in family comedy shows back then. For example, my mom didn’t let me watch La Carabina de Ambrosio (I guess because of vedette Gina Montes), but I watched it anyway, lol. And she didn’t let me read La Familia Burrón.
These days I watched El Chavo del Ocho (The Kid from the Eight / The Boy from the Eight), with Don Ramón, on YouTube, and it was just… meh.
I watched Los Chifladitos (The little crazies) and yes, the repetitive dialogues still make me laugh eventho the jokes are so simple.
And I watched an episode from Los caquitos (The little thieves), where La Chimoltrufia thinks El Botija, her husband, wants to murder her… And yes, I definitely laughed A LOT with La Chimoltrufia. She was my favorite character from the Chespirito Universe. And she still is!
I do not agree with the generic opinion: “Florinda Meza destroyed Chespirito’s legacy”… But I also don’t think that Yoko Ono was to blame for The Beatles’ breakup.
Because I say so!
PS. I found some “Los supergenios de la mesa cuadrada” episodes in Youtube, in Spanish.
