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The price of fame, episode 6 of Chespirito, not really on purpose, HBO MAX

11/07/2025
Paola Montes de Oca es la actriz que interpreta a María Antonieta de las Nieves en "Chespirito: Sin Querer Queriendo", episodio 6, El precio de la fama. Paola Montes de Oca is the actress who plays María Antonieta de las Nieves in "Chespirito: Not really on purpose," episode 6, The Price of Fame.

The Price of Fame: A Critical Look at Chespirito’s Success in the HBO MAX Series

Read my posts about episode 1, episode 2, episode 3, episode 4 and episode 5 here.

Lee este texto en español: El Precio de la Fama, Episodio 6 de Chespirito Sin Querer Queriendo – Reseña Completa

The sixth episode of “Chespirito: Sin Querer Queriendo”, titled “The Price of Fame“, available online on HBO Max, shows us the work challenges and personal sacrifices that Mexican artist Roberto Gómez Bolaños found during his rise to fame. The narrative starts in Mexico City in 1973, when an accident with a gun forced him to write his scripts by hand.

This episode explores the work and family tensions as Chespirito’s popularity and his cast grow. Nowadays, he’s considered a legend.

La Chilindrina’s Departure

The chapter begins with the departure of Mexican actress María Antonieta de las Nieves, who doesn’t want to keep on acting as her character La Chilindrina. When the cast starts their first international tour in Nicaragua, María Antonieta observes the news with some kind of regret.

Margarita and Marcos entanglement

The series shows Graciela’s criticism of the close “friendship” (?) between Margarita and Marcos, who is married, or the compromises with Jacobo Pérez, an executive from the Musicana record label, who proposes to Roberto the recording of his very first musical album.

The Return of María Antonieta de las Nieves

1974, Roberto and his family relocated to a more luxurious home. The misunderstandings in the cast intensifies with the return of María Antonieta (Tony) as Doctor Chapatin’s nurse.

Musical Albums

The first musical album’s and the proposal for a second with the collaboration of the entire casts except Marcos as he already signed with another record label. A heated discussion about “everyone else is getting rich,” culminating in a fight between Marcos and Margarita, who were already a couple.

350 Million Viewers Weekly

The impact of international success on Roberto’s family life. Graciela, his wife, reproaches him for his absence from family dinners.

1976. Figueras, owner of Televisora Estelar (Canal Alfa), summons him although Roberto promised to attend his daughter Paulina’s dance presentation. He arrives on time with Figueras, who was meeting with Lucía Méndez. Figueras reveals to Roberto the magnitude of his success: 350 million weekly viewers across Latin America. The gift of a new car and a tribute party.

Kicked Out of His Own Home

Graciela locks Roberto out of his own house, hurt by his absence at Paulina’s presentation and by a kiss mark on Roberto’s cheek (it was Lucía Méndez).

Graciela sends him to sleep in the luxurious new car.

Tribute Party

The tribute party, which Roberto attends alone, underscores his growing isolation. Luzma’s call, at Tony’s request, to ask why Graciela isn’t at the party, and Graciela’s excuse of “having nothing to wear”. Mariano invites Margarita out.

Graciela arrives at the party but leaves. Roberto tries to catch her when Tony notifies him of her presence, but he is unable to reach her. Graciela tells Roberto that he can’t leave his own party.

“The Price of Fame” exposes how success can erode the pillars of a person’s life. The series doesn’t just glorify Chespirito’s genius but invites reflection on the hidden costs of popularity.

In Real Life

María Antonieta’s Pregnancy

María Antonieta de las Nieves was pregnant with her son Gabriel in 1973, during a break in the filming of “El Chavo del 8”. Although she was pregnant, she continued to play La Chilindrina. She stopped filming for a year and a half due to her advanced eight-month pregnancy. During this time, her character, La Chilindrina, was “sent” to Celaya, Guanajuato, to live with her aunts, according to the series’ plot.

In that period, new characters were introduced to the neighborhood, such as El Ñoño, La Popis, and Godínez. Subsequently, in 1974, she was given the opportunity to host her own show, “Pampa Pipiltzin”, on Canal 13 of Imevisión. La Chilindrina (María Antonieta de las Nieves’ character) returned to “El Chavo del Ocho” in 1975.

Chespirito’s Albums

Chespirito’s first albums were released by Polygram and its subsidiary Discos Fontana. He released his first music album in 1976.

Quico’s Record Label

In 1976, Carlos Villagrán signed a contract with the EMI record label to record an album with Quico’s songs, as an exclusive artist. This contributed to his departure from Chespirito’s programs in 1978, as it was a breach of contract within Televisa’s sphere. The record label even released Quico’s album in competition with Chespirito’s. Due to this exclusivity contract, Carlos Villagrán’s voice (as Quico) could not appear on “El Chavo del 8” albums.

Copyright of the Character Quico

The main conflict revolved around the authorship and ownership of the character Quico. Roberto Gómez Bolaños was the creator of all his characters. Carlos Villagrán argued that he had contributed to Quico’s personality and characteristics, and therefore felt he had rights over him. This legal dispute lasted for years and was the main reason why Villagrán had to change the name from “Quico” to “Kiko”.

Televisa’s Ban on Carlos Villagrán

Once Villagrán left Televisa and began using the character of Quico/Kiko on his own, Televisa (Chespirito held the registered copyrights) initiated a legal persecution in several countries to prevent him from using the character. Carlos Villagrán had to seek opportunities in other Latin American countries (such as Venezuela).

Federrico in Venezuela

The Venezuelan program “Federrico” was a comedy series produced by RCTV in Venezuela between 1982 and 1983. It was created, written, produced, and starred by Carlos Villagrán, who played a character very similar to Quico, but with the name “Federrico” (or “Kiko” in some adaptations, to avoid legal issues with Televisa).

What was Ramón Valdés doing in “Federrico”?

Ramón Valdés, known for his iconic role as Don Ramón in “El Chavo del 8”, joined Carlos Villagrán in “Federrico” playing a character called “Don Moncho”. This character was a Venezuelan version of Don Ramón: a poor, lazy neighbor with the same characteristics and humor. His presence in “Federrico” was notable and sought to replicate the chemistry he had with Villagrán in “El Chavo del 8”.

Ramón Valdés’s departure from “El Chavo del 8” and his participation in “Federrico”:

  • Internal tensions: There were frictions and disagreements within the cast, especially with Florinda Meza. Ramón Valdés preferred to avoid confrontations.
  • Solidarity with Carlos Villagrán: One version, maintained by Carlos Villagrán himself, is that Ramón Valdés left the show in solidarity with him after his departure. Both actors maintained a good relationship and worked together on “Federrico” and “¡Ah, qué Kiko!”.

Although “Federrico” had some popularity in Venezuela, it did not achieve the same cultural impact or massive success as “El Chavo del 8”.

Chespirito, the Most Profitable Mexican Artist of All Time

Chespirito (Roberto Gómez Bolaños) is the most profitable Mexican artist of all time. His legacy extends beyond the personal fortune, reaching the generation of massive cultural and commercial value over decades.

What distinguishes Chespirito and positions him as a phenomenon is the global reach and enduring nature of his works:

  • Massive and transgenerational audience: “El Chavo del 8” and “El Chapulín Colorado” were not only successes in Mexico but were broadcast in almost all Latin American countries and many others around the world, being translated into dozens of languages. His characters remain recognizable and loved by new generations.
  • Royalties and re-runs: Years after these productions ended, his shows continued and, in many cases, are still re-broadcast. This has generated constant income from royalties for broadcasting rights.
  • Merchandising and licenses: The Chespirito universe gave rise to a million-dollar merchandising industry. Toys, clothing, books, school supplies, video games… Licenses to use his characters and intellectual properties remain very valuable.
  • Diversification: Chespirito also explored film, theater, music, and literature.
  • Post-mortem estate: Even after his death in 2014, his estate remains robust and generates significant profits thanks to intelligent management and the continued popularity of his creations.

While artists like Luis Miguel (considered the wealthiest Mexican singer due to his musical career and massive tours) or Juan Gabriel have accumulated fortunes, Chespirito’s phenomenon is unique due to the longevity and income-generating capacity of his characters and television series through re-runs and merchandising decades after their original creation.

While other artists generate large incomes from tours or record sales, Chespirito’s model, based on the intellectual property of characters and scripts with universal appeal, has proven to transcend generations and changes in consumption.

My Personal Opinion

I hated Graciela Fernández. Locking Roberto out of the house he paid working long hours at Televisa. It wasn’t just about showing up and filming each episode: it was about writing, producing, rehearsing, and promoting them.

It’s not that she didn’t work hard raising six children, but any wife of a successful man, if she didn’t have her own career, should have understood that he had a schedule to meet, that he wasn’t his own boss. Roberto was under the orders of Figueras (Emilio Azcárraga “El Tigre Azcárraga”).

It’s not that she didn’t know “her place,” but women who worked outside the home did so because they were single mothers or widows, or because their husband’s salary wasn’t enough. Graciela Fernández was neither a single mother nor a widow, and Roberto Gómez Bolaños surely earned enough money to support another two hundred children.

Graciela was so short-sighted because Chespirito already was a legend back then. He wasn’t just any comedian, and even Germán Valdés Tin-Tan or Pedro Infante don’t have such a fanbase (except grandpas and grandmas) today.

Roberto paid for their giant house with a garden and cars.

It’s no wonder why that matrimonial relationship ended.

Meanwhile, Chespirito kept on working.

With one wife… or with the other.

Chespirito series review episode 5: The purchase of Channel 8

05/07/2025
Captura de pantalla del episodio 5 de Chespirito: Sin querer queriendo en HBO Max. La compra del Canal 8 por Canal Alfa. Screenshot from episode 5 of Chespirito Not really on purpose on HBO Max. Canal Alfa's acquisition of Channel 8.

Chespirito series review episode 5: The purchase of Channel 8

Read my posts about episode 1, episode 2, episode 3, and episode 4 here.

Lee este texto en español: La compra del Canal 8 en Chespirito Sin querer queriendo episodio 5

The Purchase of Channel 8

The fifth episode of “Chespirito: Not really on purpose” titled “He Who Laughs Last…”, available online on HBO MAX, shows us in the television business of the 1970s in Mexico, with a central focus on the purchase of Channel 8 and the already famous Chespirito. The narrative jumps between 1972 and 1978, getting us into the evolution of Roberto Gómez Bolaños’ career and his challenges.

Ernesto Figueras’ Ambition

The episode begins in Mexico City in 1972, with the cast of El Chavo del Ocho about to record their TV show . The competition at Canal Alfa (Channel 2 from Televisa in real life) craves Channel 8’s success, and its owner, Ernesto Figueras (Emilio Azcárraga Milmo “El Tigre Azcárraga”), obsessed with the idea of having Chespirito in his company, tells to Pepe Jamaica: “If you can’t create talent, then bring it in”.

Ups and Downs at Channel 8

Chespirito’s situation at Channel 8 becomes unstable. Luis de Llano Palmer, instead of attracting Chespirito to Canal Alfa, joins Channel 8. Peña arrives to announce the cancellation of Roberto Gómez Bolaños’ show; however, Chespirito gets not one but three weekly programs: “El Chavo del Ocho” (The kid of the eight / The boy of the eight), “El Chapulín Colorado” (The Red Grasshopper), and “El Ciudadano Gómez” (Citizen Gómez). Gómez Bolaños’ influence grows in television, and in Channel 8 he enjoys absolute freedom.

Chespirito series review here! Chespirito not really on purpose. Chespirito sin querer queriendo
Mexican legend Roberto Gómez Bolaños “Chespirito”.

Offers and Loyalties

Figueras’ offers a tripled salary and abonus, but Chespirito is loyal. The cast, with the exception of Margarita, fears betrayal, while Rubén Aguirre tries to convince Roberto to take the opportunity. Chespirito refuses to break his contract with Channel 8, Pepe Jamaica warns this decision could “be the end of his career”. Roberto signs a contract renewal for 60 more weeks.

Personal and Professional Conflicts

Personal conflicts affected the team. Acapulco in 1978 reveals friction especially with Marcos, who seeks opportunities outside Mexico. And Graciela questions Chespirito’s feelings for Margarita.

An Unexpected Outcome

The death of Ernesto Figueras Legorreta (Emilio Azcárraga Vidaurreta) among with the intervention of figures like the then President of the Mexican Republic, Luis Echeverría Álvarez, culminates in the resolution of the main conflict. The episode closes with Figueras, unable to hire Chespirito, buying Channel 8 outright. This consolidates Chespirito’s position and his team.

What happened in real life?

Canal Alfa: Telesistema Mexicano (Televisa). Canal 8: Televisión Independiente de México

“Channel Alpha” in Chespirito’s series: Sin Querer Queriendo

In the series, “Channel Alpha” is the representation of Telesistema Mexicano, the largest television conglomerate in Mexico. The character of Ernesto Figueras in the series, the owner of Channel Alpha, is clearly inspired by Emilio Azcárraga Milmo, known as “El Tigre Azcárraga”.

Telesistema Mexicano operated channels 2, 4, and 5, and was the competitor of Televisión Independiente de México (TIM), the company behind Channel 8.

Channel 8 in real life

Televisión Independiente de México (TIM) launched in the late 1960s and was more innovative and with greater creative freedom than Telesistema Mexicano. Roberto Gómez Bolaños, “Chespirito”, started in Telesistema Mexicano (Channel 8 / Canal 8) with shows like “Los Supergenios de la Mesa Cuadrada,” which would eventually lead to “El Chavo del 8” and “El Chapulín Colorado.”

The merger between Channel 8 and Telesistema Mexicano

Telesistema Mexicano did not buy Channel 8; instead, they merged. This gave rise to what is now known as Televisa (Televisión Vía Satélite, S.A. de C.V.) on January 8, 1973.

The merger was the result of presidential orders, economic pressures, and the need to consolidate TV in Mexico. It is said that it was a strategy to create a single dominant company, so talents and content were under the Televisa umbrella. Successful Channel 8 programs, such as Chespirito, migrated to Channel 2.

This consolidation gave Roberto Gómez Bolaños an even larger platform to reach millions of homes.

El Tigre Azcárraga did try to “steal” Chespirito

Emilio Azcárraga Milmo, owner of Telesistema Mexicano after the death of his father, Emilio Azcárraga Vidaurreta, did attempt to bring Chespirito and his cast from Channel 8 to his TV channel.

Azcárraga Milmo sent executives to offer Roberto Gómez Bolaños a tempting contract, with a higher salary and favorable conditions. However Chespirito remained firm in his loyalty to Channel 8 and his team.

The situation changed with the merger of Telesistema Mexicano and Televisión Independiente de México (TIM), which operated Channel 8, to form Televisa. The uncertainty about the future of Chespirito’s programs on Channel 8 led him to approach Emilio Azcárraga to negotiate.

In the end, his programs migrated to Channel 2 of the newly formed Televisa. Although it is not detailed the exact raise he had been offered, Chespirito and his cast became part of Mexico’s largest television station.

The “Chespirito” show became one of the most profitable in television history, generating billions of dollars for Televisa over the years.

My Personal Opinion

I love this series. I love details like the special effects used to make El Chapulín Colorado (The Red Grasshopper) appear smaller when taking his Chiquitolina pills.

At the beginning of the episode, there’s a recording of El Chavo del Ocho, and I find it notable that they used the original musical piece “Marcia Alla Turca” by Ludwig Van Beethoven. Chespirito was sued for using Jean-Jacques Perrey’s “The Elephant Never Forgets” without paying royalties.

It’s incredible to me how such a beautiful series, which has subtly addressed personal issues, has provoked such a massive hatred towards “la vieja chancluda” (the old flip-flop lady), aka Chespirito’s second wife (Florinda Meza). The fault lies not in the series, but in the herd mentality that believes to have the moral right to cancel today a person for whatever they did or said decades ago. That, to me, is nothing more than cyberbullying by anonymous masses who create and share memes (the apotheosis of collective gossip) about it because, otherwise, what would the average Mexican do over the internet?, learn differential equations online?

El Chavo del 8: An Unexpected Legacy in Chespirito Not really on purpose Episode 4

26/06/2025
Portada del capítulo 4 de "Chespirito: Sin Querer Queriendo" en HBO Max, destacando la creación de El Chavo del Ocho. Cover of episode 4 of "Chespirito: Sin Querer Queriendo" on HBO Max, highlighting the creation of El Chavo del 8.

El Chavo del 8: An Unexpected Legacy in Chespirito Not really on purpose Episode 4

Lee este texto en español: El Chavo del Ocho en Chespirito: Sin Querer Queriendo episodio 4

Read the review for episode 1, episode 2, and episode 3 here.

The latest installment of Chespirito: Sin Querer Queriendo, titled “Es que no me tienen paciencia” (It’s Just that you Have No Patience for Me), plunges us into the fascinating genesis of one of Mexican television’s most beloved shows: El Chavo del Ocho. This chapter unveils the origins, the creative process, and the challenges Roberto Gómez Bolaños, Chespirito, faced in bringing the endearing characters and the neighborhood’s universe to life.

The episode cleverly intertwines three timelines: Roberto’s childhood in Guadalajara in 1936, his television career in Mexico City in 1971, and Acapulco.

The narrative begins with young Roberto saying goodbye to his mother, who sends him to live with his aunts and uncles for a year. This period of his childhood becomes an inexhaustible source of inspiration for the future creator.

—

Building a Cast and a Universe

The plot transports us to 1971, a crucial moment for Chespirito. We see him facing the departure of important figures like Rubén Aguirre and Sergio Peña, which leads him to a creative crossroads. However, Roberto remains firm in his vision: he doesn’t seek to replace his actors but to find new talents who adapt to his particular style.

One of the most revealing moments is when Roberto, in a jump to his childhood, shows us how his personal experiences transformed into iconic elements of El Chavo del Ocho. We observe him taking notes from children’s games in the park and a peculiar balloon seller, elements that would later shape the neighborhood’s universe. The discovery of his old child’s hat symbolizes the birth of his iconic child character.

The search for his ideal cast is another central point of the episode. Roberto rejects the idea of hiring renowned actors, opting for those he considers “good actors.” This is how we are shown the process of discovering Edgar Vivar, whom he sees in a commercial, and the incorporation of Margarita Ruiz, who already had acting experience. The arrival of Angelines Fernández to the team is also shown.

—

Challenges and Unforgettable Moments

The chapter doesn’t shy away from the obstacles Chespirito had to overcome. We see the resistance of Joaquín Vargas and Mr. Treviño to the lack of budget for a new set and Treviño’s skepticism about the cast, whom he considers “globally unknown.” Despite these pressures, Roberto remains true to his vision, even going so far as to characterize himself as the troublesome child for the role of El Chavo.

The creation of the neighborhood set, including the famous barrel, is presented as a process full of details and memories from Roberto’s childhood, such as the time his uncle would hide from the rent collector, and the image of a child playing with a balero (cup-and-ball toy).

The episode also briefly touches on the interpersonal dynamics between the actors and Roberto’s family, as shown in Acapulco in 1978 and the tensions between Margarita and Graciela. However, the main focus remains the arduous and passionate path that led to the international consecration of El Chavo del Ocho.

“Es que no me tienen paciencia” culminates with the exciting first day of filming El Chavo del Ocho, leaving us with the feeling of having witnessed the foundations of a television phenomenon that would transcend borders and generations.

My Personal Opinion:

I loved it. I simply loved the series; you can tell it’s made with all the love. My eyes welled up at the end of the episode when the filming of the first chapter of El Chavo del Ocho began.

Florinda Meza, Roberto Gómez Bolaños’ widow, has supposedly come out to deny facts presented in the series: that Roberto was already successful, that he didn’t need to jump a fence, that there was no antagonist, and so on.

But we must remember: it’s a fictional series based on real events, not a documentary with historical truth.

It continues to strike me, regardless of the recent massive “funa” (a word that doesn’t exist in the RAE) against Florinda Meza, where she has been compared to Karla Panini, Ángela Aguilar, and even Yoko Ono herself, that the series, so far, has not portrayed her negatively. On the contrary: in today’s episode, it’s implied that Roberto was smitten with her from the moment he met her, while she (or Margarita) was oblivious.

It was just revealed on Facebook that Roberto Gómez Fernández, the series’ screenwriter, criticizes his father’s infidelity when he married Krystel Padilla, his ex-wife Jessica Coch’s best friend. I didn’t know that one, and in fact, I almost fell backward when I saw that the man has already had four!!! marriages (Kim Bolívar and Chantal Andere). Roberto, at least, settled down with Doña Florinda…

San Luis Potosí city: Origin, History, and Meaning of its Name

24/06/2025
Héctor Juárez Lorencilla y Jéssica Aranza en un parque de San Luis Potosí, ciudad cuyo nombre tiene un origen fascinante. Héctor Juárez Lorencilla and Jéssica Aranza in a park in San Luis Potosí city, a place whose name has a fascinating origin.

San Luis Potosí city Origin, History, and Meaning of its Name

By: Héctor Juárez Lorencilla.

Why is this city Called like That?

The name San Luis Potosí is composed of two parts with distinct and fascinating origins. To begin, the first part, “San Luis,” is given in honor of Saint Louis IX, the saint and King of France (born in Poissy in 1215 and who died in Tunis in 1270, due to the plague).

Son of King Louis VIII and Queen Blanche of Castile, Louis IX ascended to the throne in 1226 while still a child, so his mother ruled as regent. His mother’s profound religious influence led him to dedicate himself to Catholic principles.

Biographers of this monarch state that: “He brought a sense of justice and Catholic ethics to his politics. He extended justice to the jurisdictions of feudal lords. He created Crown inspectors to control the abuses of his officials. He eradicated duels. He fought gambling and prostitution. He minted currency and founded the Sorbonne University, among many other achievements.”

He participated in the last two crusades against Islam. In the first, he left the government to his mother while he lost his army in Egypt (1248-52). In the second, unfortunately, he died of the plague while attempting to convert the Sultan of Tunis.

Given his subordination to the Papacy and his obedience to the Catholic faith, Saint Louis IX was canonized in 1297 by Boniface VIII. This man of faith, full of qualities, however, also ordered the killing of thousands of men and expanded his territory by force of arms.

This was the saint chosen by the founders in 1592. The dedication to the saint is also due to the then Viceroy, Don Luis II de Velasco, and to one of the discoverers of gold and silver mines, Don Luis de Leija, which answers the query about the full name.

The Meaning of the Second Part of the Name

The second part of the name, “Potosí,” has an origin related to mining wealth. The first founding of what is this city now was carried out with Tlaxcalteca settlers in the current Plaza de Fundadores, where there was a spring. This happened on August 25, Saint Louis IX’s Day. Days later, on November 3, the official founding by the Spanish took place in the same location.

These settlements were initially organized into a Spanish villa and seven indigenous neighborhoods:

  • Tlaxcalilla (where the Tlaxcaltecas settled).
  • Santiago (where the Huachichiles settled).
  • San Cristóbal del Montecillo (Tlaxcaltecas).
  • Barrio de San Sebastián (assigned to Purépecha families).
  • San Miguelito (for Tlaxcalteca and Purépecha families).
  • San Juan de Guadalupe (Tlaxcaltecas).
  • Tequisquiapan (Tlaxcaltecas).

The Spanish villa was initially named “San Luis de Mesquitique,” and later “San Luis Real de Minas del Potosí.” The title of City was properly granted until 1650, by its first Mayor and Chief Justice, Don Juan de Oñate, who drew the city’s plan.

The Name Change to “Potosí” and its Meaning

It was during the viceroyalty of Don Francisco Fernández de la Cueva, Duke of Alburquerque, that the change from “Pueblo y Minas del Potosí” to city was granted on May 30, 1656. At this time, the name “Mesquitique” was changed to “Potosí.”

This change was made in reference to the vast wealth of the mines of Cerro de San Pedro, comparing them to the famous and rich mines of Potosí in Bolivia. Hence the complete meaning of its name: a combination of the tribute to King Saint Louis IX and the allusion to the great mining wealth, similar to that of Bolivian Potosí.

Thus, November 3 is an important day for the “potosinos,” as they celebrate the founding of their city (1593) in honor of a French king and a Bolivian mine.

What is this place Known For?

Beyond the meaning of the name and its rich history, the city is known today for its architectural beauty, its beautiful buildings, houses, and churches. And, according to our experience, the best thing about the city is the kindness with which we were treated by its people.

Chespirito Sin Querer Queriendo Review: The Birth of El Chapulín Colorado – The Red Grasshopper (Episode 3)

21/06/2025
El Chapulín Colorado: La Primera Vez en "Sin Querer Queriendo". Opiniones de Chespirito episodio 3 de HBO MAX. El Chapulín Colorado: The First Time on "Not really on purpose." Reviews of Chespirito, Episode 3 on HBO MAX. chespirito sin querer queriendo review.

The Birth of an Icon: Insights and El Chapulín Colorado (The Red Grasshopper) in Chespirito Sin Querer Queriendo review – Episode 3

Third episode of the bioseries Chespirito: Sin Querer Queriendo, HBO MAX: Don’t panic.

Read the review of Episode 1 and Episode 2 here.

Lee este texto en español: Opiniones de Chespirito: El Chapulín Colorado en “Sin Querer Queriendo” episodio 3

From the beginning, the episode 3 of Chespirito Sin querer queriendo / Chespirito Not really on purpose (Don’t Get Your ‘Reathers Fuffled!) immerses us in the creative process and misadventures that led to the birth of one of Mexican television’s most beloved characters: El Chapulín Colorado (The Red Grasshopper).

This episode is an ode to the perseverance and vision of Roberto Gómez Bolaños, alias Chespirito, as he navigates the obstacles and pressures on his path to television immortality. Chespirito’s insights, his dilemmas, and his faith in his own ideas are the central focus of this emotional story.

Immortal Phrases and Creative Pressure

The plot kicks off with a nod to the immortal phrases Chespirito popularized —”Que no panda el cúnico” (“Pobody nanic“), “No contaban con mi astucia” (They didn’t count on my cleverness!), and “Y ahora, ¿quién podrá defenderme?” (And now, who can defend me?)—, immediately establishing the relevance of the genius behind them.

The narrative accelerates with a scare at Roberto’s family home, serving as a catalyst for the first of many tensions caused by an overload of obligations between writing, acting, and fathering six kids.

One of the central subplots revolves around the confrontation between Roberto and Sergio Peña, who challenges his decision to end “Los Supergenios de la Mesa Cuadrada.” This friction shows Chespirito’s constant struggle to innovate and to follow his creative instinct, despite the expectations of those around him.

In this context of uncertainty and the need for a new project, Roberto begins to conceive the idea of a superhero. Simultaneously, the series reminds us of his personal life, with the imminent arrival of his sixth child, adding a layer of responsibility and pressure to his already saturated schedule.

From Acapulco to the TV Station: The Gestation of the “B-Grade” Hero

The story takes us to a vibrant Acapulco, where Roberto’s personal life clashes with his professional responsibilities. His attempts to discuss the end of “El Chavo del Ocho” recordings with his wife are frustrated by domestic demands, reflecting the complexity of balancing his creative genius with the daily family life.

Meanwhile, in a flashback to the TV station, intrigue brews.

Mr. Treviño pressures for a rival comedian, Víctor Palacios (with a notable resemblance to the real-life Mexican superstar Alejandro Suárez), to take Chespirito’s time slot, leveraging the fact that Roberto hasn’t presented anything new and his show is airing reruns.

This threat pushes Roberto to refine his vision for a new character. He realizes the key isn’t a conventional superhero, but a parody, a “b-grade superhero,” a “mock superhero”: El Chapulín Justiciero.

Sergio Peña’s acceptance of the concept is a relief, though the original name doesn’t click. The phrase “Heroism is not about not being afraid, but about overcoming it” encapsulates the essence of this peculiar hero.

Despite this, the initial proposal doesn’t get greenlighted by top management, leading to the bold decision to secretly record the pilot. Here, the complicity with Mariano Casasola comes into play, as he allows them to use his news set for the clandestine recording.

The Secret Behind the Red Costume: Chroma Key

A crucial production detail highlighted in the episode is the limitation in the Chapulín’s costume design. Graciela sews the costume according to Roberto’s sketches, but they must avoid green and blue clothes due to the use of chroma key (green screen or blue screen for special effects), a fascinating anecdote explaining why the iconic costume ended up being red and yellow.

Thus, El Chapulín Justiciero transforms into El Chapulín Colorado.

Personal drama intensifies again in a flashforward to Acapulco, with a tense encounter between Roberto, Margarita (his future second wife), and Mariano, who culminates in a jealous scene and Mariano’s resignation, only to reach a “gentlemen’s agreement.”

Back in 1970, the secret pilot recording becomes a race against time: the team arrives secretly at the TV studio on a Saturday night, with only four hours left and a single set, forcing Roberto to rewrite on the fly. Tension mounts when a security guard reports the unauthorized activity.

The Final Confrontation and the Triumph of Genius

The climactic scene arrives with Roberto Gómez Bolaños handwriting the script and dressing himself in the Chapulín Colorado costume. The recording finishes just in time for Mr. Treviño’s arrival.

The episode culminates in an epic confrontation between Roberto and Mr. Joaquín Vargas (note: not the real-life Joaquín Vargas, founder of MVS), a executive at the TV station with a higher rank than Sergio Peña, and who reprimands Roberto for breaking the rules and deceiving management.

However, Roberto’s audacity is immense when he swaps his tape, meant for re-recording, with another tape that Vargas was supposed to review. The outcome is unexpected: despite his anger, El Chapulín Colorado’s genius manages to make Vargas “laugh like an idiot.”

Chespirito’s insights are validated at the peak moment when El Chapulín Colorado is broadcast on open television in Mexico and other countries.

The competition’s reaction, seeing the high ratings, seals Chespirito’s fate, where Emilio Azcárraga predicts his inevitable move to “the other” TV station.

This episode provides an intimate look into the continuous challenges and triumphs behind one of Spanish television’s greatest talents. It’s a reminder that sometimes, great ideas are born from rebellion and unwavering passion, shaping Chespirito’s insights and his legacy forever.

My Personal Opinion:

I’ll just say that I almost cried when they said “Chapulín Colorado” for the first time.

I’m more than ready for watching the upcoming Episode 4. Gotta wait a whole week for it!

They didn’t count on my cleverness!

Good people, follow my lead!

Note on the translation: The name in English of the episode 3 of the HBO MAX series isDon’t Get Your ‘Reathers Fuffled!

In Spanish the name of the episode 3 comes from a common phrase (“Que no cunda el pánico”) that the Chapulín Colorado changes to “Que no panda el cúnico”. According to ABC News, the translation of the common phrase is “Nobody panic”, and the Chapulín Colorado’s phrase would be “Pobody nanic”.

Augural Ediciones Press Presents the Book: Seolic Tales

16/06/2025
Abraham Téllez España (Augural Ediciones) presentando el libro Cuentos Seólicos, antología. Abraham Téllez España (Augural Ediciones Press) presenting the book Seólicos Tales, an anthology.

Augural Ediciones Press Presents the Book: Seolic Tales

Editorial Work

Our editorial work stems from Augural Ediciones Press’ interest in opening a space to showcase the voices of different writers, eager to share their stories. This particular case is the anthology book Seolic Tales, which falls within the horror genre, though not strictly so, as it contains very diverse proposals. And it is precisely its breadth of possibilities that allows us to bring to the reader pages written with vocation and care, which otherwise might remain forgotten in a drawer.

Ana Segovia Camelo during the presentation of Cuentos Seólicos (Augural Ediciones), Anthology. Ana Segovia Camelo (Augural Ediciones Press) presenting the book Seólicos Tales, an anthology.
Editor Ana Segovia Camelo, a prominent figure in the presentation of the anthology “Seolicos Tales” by Augural Ediciones Press.

About the Authors

A characteristic of the book is the diverse backgrounds, ages, and styles of contemporary writers gathered in a kaleidoscope revolving around terror. Some have produced novels, narrated stories, or ventured into poetry and essays; others write journalistic articles or this is their first publication. Their professions also vary, as they are professors, actresses, editors, workshop facilitators, journalists, essayists, etc., which indicates that having a publication that gives voice to their talents will complement and enrich their lives and those of their readers.

Literary Expression

Hence, Seolic Tales is an option for literary expression, in an effort to share both creation and its enjoyment. Therefore, we thank all the authors for collaborating with their inventiveness, which will undoubtedly intrigue and thrill readers.

Ana Segovia Camelo and Abraham Téllez España

Guanajuato City: Origin, Meaning & Toponymy of its Name | What was its first name?

14/06/2025
La escritora mexicana Jéssica de la Portilla Montaño se toma una selfie con vista panorámica de Guanajuato Capital desde un balcón, mostrando su arquitectura colorida y calles pintorescas. Mexican writer Jéssica de la Portilla Montaño takes a selfie from a balcony overlooking Guanajuato city, in Mexico, showcasing its colorful architecture and picturesque streets.

Guanajuato City: Origin, Meaning, and Toponymy of its Name. What was its first name?

By: Héctor Juárez Lorencilla.

Lee este texto en español: Guanajuato: Origen, Significado y Toponimia | ¿Cuál fue su primer nombre?

Introduction to the Meaning and Origin of the name of Guanajuato City

The beautiful Guanajuato City, a World Heritage Site, holds a rich history and deep meaning in its name.

Have you ever wondered what Guanajuato’s first name was or what GTO. means? Here you will delve into its fascinating toponymy and the historical origin that has shaped the identity of this iconic city throughout the centuries.

Meaning of Guanajuato City: Its Name and History

Chupícuaro Culture and the First Settlers

The first settlers of what we now know as our state in El Bajío were located to the south. They lived as hunter-gatherers along the banks of the Lerma River, where they began to cultivate corn, beans, and squash, adopting a semi-agricultural way of life. This is known as the Chupícuaro culture, a word derived from Purépecha meaning: “Blue Place.”

Their location was seven kilometers from present-day Acámbaro and Tarandacuao. They developed the molcajete for grinding corn and made pottery of various sizes, demonstrating their knowledge of mud firing. In addition to cultivating, they fished and gathered wild fruits and plants from the region. They built dwellings (stone huts with mud floors), which marked their transition from nomads to semi-nomads and, finally, to sedentary people. In their period of greatest development, the Chupícuaro people built oval pyramids.

Pre-Hispanic Names and their Toponymy

The Chichimecas, the first to settle in the northern region, called it Mo – o – ti, meaning “place of metals.” Meanwhile, the Purépechas – Chupícuaros from the south named it Kuanasiuatu, a name derived from kuanasi (frog) and uata (hill), words that in the Purépecha language mean: “Mountainous place of Frogs” or “Frog Hill.” Later, the Mexicas named this region Paxtitlán, “Place of Straw.”

El Bajío is a region of Mexico that includes parts of the states of Guanajuato, Querétaro, Los Altos de Jalisco, and Aguascalientes. The name and meaning of Gto. are deeply linked to Paxtitlán, “place of frogs,” which is why many of its handicrafts depict these amphibians (from the Greek ANUROS) or batrachians.

Invasions and Indigenous Resistance in Guanajuato City

The Purépechas and Tarascos, settled in the south of what is now the state, lived under the constant threat of invasions by semi-savage tribes with their own customs, languages, and religions. Regardless of whether they were Guamares, Cazcanes, Pames, or Guachichiles, the danger of robberies, murders, and rapes was a daily reality for the first inhabitants of these “hills full of frogs.”

The Spanish Castilianized the northern groups as “Chichimecas,” a term that encompassed all peoples living from the Lerma River to the northernmost part of Aridoamerica.

The first inhabitants of the territory where the capital city is located called themselves “Guamares.” They wore long hair and, unlike other nomadic tribes, the Guamares and Pames used materials to cover their genitals; women wore animal skins as skirts, leaving the rest uncovered. Unlike other Chichimeca tribes, the Guamares built round huts with straw. Regarding their worship, they adored the stars, rain, and nature in general. They knew the properties of some plants and consumed them in rituals, with peyote being a sacred plant that turned them into fierce warriors.

Scope of the Chupícuaro Culture

The Chupícuaro culture also encompassed parts of the State of Mexico, Hidalgo, Colima, Nayarit, Guerrero, and Michoacán, forming what archaeologist Beatriz Braniff called “the Chupícuaro Tradition.” Furthermore, the Guanajuato region occupied by this culture received influences from other important civilizations:

  • That of Los Morales from the Upper Preclassic (400 BC – 250 BC).
  • Teotihuacán, from the Classic Horizon (200 AD – 900 AD).
  • Toltec from the Early Postclassic (900 AD – 1200 AD).
  • Purépecha, from the Late Postclassic (1200 AD – 1525 AD).

In 1522, Cristóbal de Olid’s expedition arrived at what is now known as Yuririapúndaro and Pénjamo, finding the territory occupied by the Chichimeca tribe in the central and northern parts, and by the Purépecha tribe in the southwest.

Real de Minas de Guanajuato: The Origin of the City

It is important to note that small Chichimeca groups primarily occupied a site in the canyon called Paxtitlán, but it was the Tarascan – Purépecha Indians who baptized this place as Quanaxhuato, meaning “mountainous place of frogs.”

The capital city would not have emerged without the discovery of silver veins in the Mina de Rayas and Mellado, which led to the first settlements and transformed the place into a small village.

By 1574, this town in El Bajío already existed as a major alcaldía. However, it was not until 1741 that it received the title of Ciudad Santa Fe y Real de Minas de Guanajuato from King Philip V.

In the 18th century, the city’s mining opulence was evident. Large buildings were constructed on Calle Real, which has since been the city’s main thoroughfare and where the first constructions were erected. Mining grew considerably, giving rise to other mines such as La Mina de Cata, Valenciana, Bocamina San Ramón, among others.

From Village to Capital City: The Evolution

In 1576, the Villa de León was founded with the aim of counteracting indigenous incursions.

In 1590, La Villa de San Luis de la Paz was founded to celebrate the peace treaty between the Spanish authorities and the Chichimeca tribe.

The regional boom in mining in the 18th century led to the construction of notable civil and religious buildings in the capital city and other towns, magnificent examples of Baroque and Churrigueresque architecture.

By the year 1741, the capital city was granted the title of Villa de Santa Fe y Real de Minas de Guanajuato, with the right to use a coat of arms.

Evolution of the name Guanajuato

The history and evolution of the name Guanajuato are as rich as its silver veins.

In 1741, by order of King Philip V of Spain, it was granted the category of “Most Noble and Loyal City of Santa Fe and Royal Mines of Guanajuato,” with the arrival of the first mayor, Preafán de Rivera y Gómez.

Years earlier, on October 26, 1679, by decree of Viceroy Enrique de Rivera, it had received the title of Villa, adopting the name “Villa de Santa Fe y Real de Minas de Guanajuato.” By 1790, the growing population was already declared an intendancy.

Spanish colonization in this area spread through land grants. Rodrigo Vázquez received properties for mining exploitation, while Andrés López de Céspedes and Juanes de Garnica obtained cattle ranches, laying the foundations for the region’s settlement and development.

Indigenous Resistance and Foundation of Guanajuato

The Chichimecas: Guardians of the Territory

A fundamental aspect of Guanajuato’s history is the resistance of its original inhabitants. The Chichimecas of the region never submitted to Spanish authority, and their constant assaults on newly established settlements were a force to be reckoned with.

To protect the valuable mining activities, four key forts were built: Santiago, Santa Ana, Santa Fe, and Tepetapa, which over time would evolve into the neighborhoods we know today.

The fort of Real de Santa Fe, being the most prosperous, was established as the head of the other three and was crucial for the definitive settlement of the capital city in 1554.

Under the orders of Philip II, the distribution of houses was carried out irregularly and on different levels, giving rise to the famous alleys, passages, tunnels, squares, and corridors that characterize the capital of El Bajío.

In 1679, by mandate of Charles II, the iconic Plaza Mayor of the Villa was established with land ceded by the colonizing residents.

Among the first religious constructions, the parish of Nuestra Señora de Guanajuato stands out, with its distinctive yellow color, and the first convent, San Diego de Alcalá, located next to the renowned Teatro Juárez.

The Mining Wealth and its Impact on Guanajuato’s Development

Gold and Silver: Pillars of Guanajuato’s Opulence

Guanajuato was not only an important city due to its settlement; it was an economic powerhouse. During the 17th century, this region consolidated its position as the world’s leading silver producer, surpassing other mining centers like Zacatecas, Fresnillo, and San Luis Potosí. This immense mineral wealth, derived from the exploitation of gold and silver, propelled unprecedented development in the city.

The opulence achieved in the 18th century manifested itself impressively in its civil and religious architecture. Notable examples include the first chapel blessed in 1555, belonging to the Hospital de los Indios Otomíes, and the oratory of the Colegio de Compañía de Jesús, founded around 1589 and located next to the University of Guanajuato.

By 1810, this historic city, driven by its imposing mines, extracted a quarter of the world’s silver production, a milestone that cemented its global relevance.

From the Colonial Era to Independent Mexico: The Consolidation of Guanajuato

With the arrival of independent Mexico and the promulgation of the first Mexican Constitution in 1824, during the First Federal Republic, the city was elevated to a new status: it became the Capital City of the Free and Sovereign State of Guanajuato, thus consolidating its preeminent place in the new nation.

The evolution of the Bajío state has been remarkable. From indigenous settlements to these modern times when even the Virtual University of the State of Guanajuato (Uveg) exists, from which my wife Jéssica graduated as an Engineer in Information Technology Management.

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Frequently Asked Questions (FAQ) about the name Guanajuato

What was the first name of Guanajuato?

The first official recorded name, in its villa category, was “Villa de Santa Fe y Real de Minas de Guanajuato,” granted in 1679. Subsequently, in 1741, it received the category of “Most Noble and Loyal City of Santa Fe y Real de Minas de Guanajuato.”

What does Guanajuato (GTO meaning) mean?

The meaning of Guanajuato comes from the Purépecha “Quanaxhuato,” which means “Mountainous place of frogs” or “Place where frogs abound.” Abbreviations like GTO. commonly refer to the state or city of Guanajuato.

What is toponymy?

The toponymy of Guanajuato refers to the study of the origin and meaning of its name. This name has pre-Hispanic (Purépecha) roots and has evolved throughout the colonial and modern history of Mexico, reflecting its geography and mining history.

Images: Jéssica de la Portilla Montaño.

HBO Max Chespirito, Episode 2 Summary. Origins of Chespirito nickname (“Shakespearito”)

13/06/2025
Roberto Gómez Bolaños como Chespirito en el set de 'Chespirito sin Querer Queriendo'. Chespirito HBO Max. Roberto Gómez Bolaños as Chespirito on the set of 'Chespirito sin Querer Queriendo'. HBO Max Chespirito. Información de Sergio Peña Chespirito.

HBO Max Chespirito: Episode 2 Summary & The Origin of Roberto Gómez Bolaños’ NicknameHBO Max Chespirito, Episode 2 Summary. Origins of Roberto Gómez Bolaños’ nickname Chespirito (“Shakespearito”)

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

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.

HBO MAX Chespirito Shakespearito HBO Chespirito
Sin querer queriendo, Chespirito HBO MAX. Not really on purpose, HBO MAX Chespirito.

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.

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