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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.

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.

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.

Latin American Flash Fiction Anthology

25/05/2025
Cuento 'Blues para todos mis sueños' de Héctor Juárez Lorencilla en la antología Cuéntame un Blues, Antología de minificciones (La Tinta del Silencio). Latin American flash fiction by Mexican writer Héctor Juárez Lorencilla.

Latin American Flash Fiction Anthology: Cuéntame un Blues

BLUES FOR ALL MY DREAMS


Héctor Juárez Lorencilla.

I sink into the armchair, close my eyes, and let the Best of Blues mp3 wash over me. Ella Fitzgerald, Bessie Smith, Sonny Boy Williamson, Muddy Waters, Memphis Slim…
Each song paints a new scene. I see myself with a cigar and a whiskey glass in some noir-toned nightclub. Then, another track transports me —I’m fighting mobsters with a shotgun beside Elliot Ness. Marvelous! My favorite tune plays, and suddenly I’m in a Parisian battle, dragging a wounded soldier alongside Clint Eastwood…
Then my boss barks at me to guard the warehouse and lock the main gate.
I close my eyes again: now I’m distilling moonshine to survive the night.

 

This story is part of the book:

Latin American Flash Fiction: Cuéntame un Blues

from the Blue Cat Collection (fiction series) by La Tinta del Silencio Press.
Edited and designed by Anaïs Blues and Luis Flores Ramos, who also wrote the foreword.
Featuring flash fictions by Mexican writers like Ulises Paniagua, Mariano F. Whatle, and José Luis Zárate.

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