TV

It was worth it in Chespirito Not really on purpose, Episode 8 Review, Season Finale

24/07/2025
Captura del episodio final "Valió la Pena" de Chespirito sin querer queriendo, con personajes de El Chanfle o el elenco de Chespirito. Screenshot from the final episode "It Was Worth It" of Chespirito Not really on purpose, featuring characters from El Chanfle or the cast of Chespirito.

It was worth it in Chespirito Not really on purpose, Episode 8 Review, Season Finale

Read my posts about episode 1, episode 2, episode 3, episode 4, episode 5, episode 6 and episode 7 here.

Lee esta reseña en español aquí: El Chanfle en Chespirito Sin querer queriendo, reseña del episodio 8, final de temporada: Valió la Pena

It was worth it

The eighth and final episode of the first season of Chespirito Not really on purpose, titled “Valió la Pena” (It Was Worth It), available online in HBO MAX, takes us to 1978 with the creation of the Mexican film El Chanfle. This final chapter shows us the legendary work of Roberto Gómez Bolaños, along with the sacrifice of his family life.

Chespirito and Margarita fight, he feels guilty and she says that he wants to continue his relationship with Graciela, and it’s OK because she’s the wife. He argues he can’t procreate anymore and that she deserves to be a mother.

In parallel, Graciela manages (and emphasizes) Roberto’s absence in their children’s life.

The Birth of El Chanfle and the Increasing Tension

There’s a proposal to film a movie about El Chavo del Ocho. A kicked soccer ball in the garden, while Roberto spends time with Graciela and kids, leads to the birth of El Chanfle, a waterboy for a football team. Figueras offers support from Club América, Chespirito insists El Chanfle will work for Las Chivas de Guadalajara.

The filming of El Chanfle is full of goodbyes. Marcos announces his departure to start his own show as Quico, even though Roberto warned him not to be tied to a single character. Arguments between Mariano and Margarita, defended by Roberto, escalate to a physical fight. The misunderstanding between Marcos Barragán and Televisora Estelar / Canal Alfa ends in a lawsuit, all because he refused to credit Chespirito as the creator of the Quico character. His potential new show was already authorized by Figueras.

Breakups and Triumph

Ramón, affected by the atmosphere, thanks Chespirito and informs him that he has decided to leave with Marcos.

Roberto misses his 23rd wedding anniversary with Graciela. She throws him Margarita’s underwear, which she kept for a year since Chile. She says she’s tired of everything revolving around him. Roberto doesn’t answer when she asks if he’s happy there. She kicks him out of his own house.

Graciela announces to her children that Roberto will no longer live there. He moves in with his brother Francisco. A year later, Graciela calls Roberto so he picks up his belongings from the family home. He tries to reconcile.

1981, Bogotá. Roberto, characterized as El Chavo, and surrounded by his coworkers, is greeted by three million people. His kids witness the magnitude of the event on television. Graciela smiles.

Roberto tells Margarita his desire to build something with her.

The Legacy

The episode closes with scenes of the late Roberto Gómez Bolaños and a message about his global influence: 50 years of uninterrupted broadcasting in over 90 countries and 50 languages, 690 television episodes, 20 films (including El Chanfle), 3 theater plays, 3 telenovelas (soap operas), 3 books, more than 100 characters, an impact on over one billion people, and 9 million attendees at his live events.

The song “Qué bonita vecindad” (What a beautiful neighborhood), with the actors and El Chavo del Ocho entering his barrel, is the very last scene of the HBO MAX series.

My Personal Opinion

I wondered if Roberto knew, or was just pretending, that Graciela knew about his affair.

His wife had to “look the other way” for a whole year before, literally, throwing the issue in his face.

There’s this dialogue after Roberto arrives late for the 23rd wedding anniversary dinner (it’s not established that there was a formal appointment between the spouses) because he was dealing with Quico’s lawsuit and a potential counter-suit:

Graciela: Late again?

Roberto: Grumpy again?

When Roberto shows Graciela the handwritten script for El Chanfle, she doesn’t seem to get the transcendence of Chespirito’s work. She didn’t marry “just any Godínez” (in Mexico, office workers are “a Godín / Godínez”, the name of Horacio Gómez Bolaños’ character in El Chavo del Ocho).

Can creative geniuses lead a normal family life? And what about their mental health?

During my last semester of Literary Creation in Sogem Coyoacán School, some professor made us read nothing but tormented, suicidal, psychopathic writers, just to make a point about the “artist’s neurosis” stigma.

I do know a few writers who have combined family life with publishing.

Many of my generation decided not to have children. Others got married and then divorced. Many of us got paying jobs and literature became a hobby, or a side hustle, or nothing but a memory.

I left Mexico City to start a family, so I said goodbye to anything else. I’m happier with my husband and my daughter. And, instead of writing about people who don’t even exist, I earn money by reading the Tarot cards.

Would I trade what I have for having been another writer? No.

Would I trade what I have for having been a Roberta Gómez Bolaños? I don’t even want to think about that! The scene where three million people greet him in Colombia was epic. I wish the episode had ended there.

Maybe Roberto and Graciela’s love survived better nowadays. Roberto would use voice recognition to write, while Graciela plays Sudoku or Bloons Tower Defense on Netflix, or she could attend video calls for her own business.

Imagine the burden of raising six children while your husband works all day. And imagine the stress of writing with deadlines for radio, television, theater, and cinema while your wife demands you to be home. Your boss (the most powerful man in Mexico, El Tigre Azcárraga… Someone told me an anecdote about how El Tigre was wearing pants and sneakers when he met the new and elegant Mexican president, Carlos Salinas de Gortari) forces you give up any personal life because Televisa come first.

Social media bullies talk as if Roberto Gómez Fernández and Paulina Gómez Fernández created this series with a single purpose: getting revenge. “You never forgive what they did to your mother (Graciela Fernández)”. The series is a lovely tribute to Chespirito, but malicious people say it’s also a punishment to their late father for abandoning them.

I hope there will be more seasons for Chespirito: Not really on purpose. I will watch it again, and I’m pretty curious about its dubbing to English. The series was HBO MAX’s most watched show in Latin America during these eight weeks.

There’s only one question left

Did Enrique Segoviano and Roberto Gómez Bolaños really have a physical fight?

Chespirito’s Deception in Chespirito Not really on purpose Episode 7

18/07/2025
El engaño de Chespirito a su esposa Graciela Fernández en el episodio 7 de "Sin Querer Queriendo". Chespirito's deception

Chespirito’s Deception in Chespirito Not really on purpose Episode 7

Read my posts about episode 1, episode 2, episode 3, episode 4, episode 5 and episode 6 here.

Lee este texto en español aquí: El engaño de Chespirito sin querer queriendo, episodio 7

Chespirito’s Deception: An Unexpected Turn in the HBO Max Series

The seventh episode of “Chespirito: Sin Querer Queriendo”, titled “Con Melón o con Sandía” (“On the fence”), is the most impactful to date. It not only unveils Chespirito’s deception towards his wife Graciela Fernández but also reveals a narrative manipulation by the series itself, available online on HBO Max.

A Marriage in Crisis and Creative Block

The episode begins with Chespirito’s return home after a party, an encounter with Graciela that makes their estrangement clear.

On the set of “El Chavo del Ocho”, Marcos expresses his frustration of filming recycled sketches. Margarita creates resentment among her colleagues, who label her a sycophant, while Roberto seems to pay attention to her.

The World Tour: Solitude and Passion

The announcement of a world tour that will take the cast to Chile. Roberto invites Graciela, who declines. During the tour, loneliness and pressure open the door to intimacy. Roberto and Margarita find themselves alone in the hotel bar; conversation flows, dancing and a confession of “hunger for kisses” leads to a passionate moment. The next morning Tony sees Margarita leaving Roberto’s room, revealing Chespirito’s deception to his wife.

Secrets at Home and Confessions

Back in Mexico, the discovery of a woman’s underwear in Roberto’s suitcase by the domestic worker, who hides it from Graciela. Roberto’s daughter’s engagement and Graciela’s words about the true meaning of a commitment. The confrontation between Roberto and Margarita, where he explains he’s not the man for her. The domestic worker finally confesses to Graciela.

The Series’ Deception and the Final Breakup

The filming of the “El Chavo del Ocho” episode in Acapulco. This is where the true deception of the series is revealed. Previous episodes had shown scenes from this filming and its conflicts, but without revealing that the incident in Chile and Chespirito’s infidelity with Margarita had already occurred.

The tension explodes on Acapulco beach, where Roberto and Graciela argue. Roberto’s pain at seeing her engaged to Mariano, Graciela’s demand that he make a decision; she throws her ring into the sea and breaks off her engagement.

The bonfire scene and Graciela’s tears to the rhythm of Jeanette’s “Frente a Frente” song close this episode with a heartache.

“On the fence” not only explores the dark side of Chespirito’s personal life but also plays with the viewer’s perception.

My Personal Opinion

The series waited almost to the last episode to reveal that Chespirito’s deception had already occurred. For me it was a low blow from the screenwriters (Roberto Gómez Fernández and Paulina Gómez Fernández). It felt like watching a two-hour movie only to find out at the end that nothing ever happened, that it was just a dream.

Throughout the entire series, I haven’t seen Margarita’s supposed “evil.” Marco’s, yes. And after María Antonieta de las Nieves’s cameo, I suppose there won’t be any talk of how she legally stole the character of La Chilindrina.

Yes, I cried with Graciela Fernández, Chespirito’s wife, and the song “Frente a Frente”, it’s one of those songs that makes you cry every single time no matter what. But Graciela Fernández attitude seems incomprehensible to me: she says she won’t go to the tribute party, she arrives unannounced, and she leaves before Roberto sees her. WTF?

And why she didn’t want to go to Chile? They weren’t going to fire her from her job, because she didn’t have one…

Like, c’mon, you rather went to Acapulco but not to Chile?

In theory, if someone was stealing my husband, I’d fight against it and against anyone. But she has this languid and passive attitude of “oh no, that’s not my world”, “oh no, you and I have nothing in common anymore”, blah blah blah, extremely tiresome, not even submissive but rather lazy, as if she didn’t care much anymore.

And well, I hope there’s a second season. I’ve really liked the series, with the exception of that “plot twist” which, to me, is nothing more than a deception by not revealing the truth. I’ll have to watch it again because in previous episodes I didn’t see anything strange between Roberto and Margarita —that is, I know the real-life facts, but in the series, I didn’t see any attitude from Margarita towards Roberto, but from him towards her.

Furthermore, where are the five years of sending flowers to Margarita?

And where are all the other women Roberto Gómez Bolaños cheated on Graciela Fernández with during the tours?

It’s also not specified whether Roberto and Margarita stayed together all that time, if the intimate moment only happened once, or what.

It would be very interesting if the real-life Margarita made a series now with her version of events. They say there are always three versions of any event: yours, mine, and the real one. And this is the version of Graciela Fernández’s children. The real one will never be known by us.

Let everyone draw their conclusions.

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…

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”.

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.

Chespirito Not Really on Purpose Review Episode 1 | No Spoilers

12/06/2025
Captura de pantalla de Chespirito Sin Querer Queriendo como número 1 en el Top 10 de HBO Max México. Reseña sin spoilers. Screenshot of Chespirito not really on purpose as number 1 in the Top 10 of HBO Max Mexico. Spoiler free review

Chespirito Not Really On Purpose Review Episode 1 (No Spoilers)

Lee este texto en español – Chespirito: Sin Querer Queriendo, ¿Vale la Pena? Reseña Sin Spoilers

Read my review of the Episode 2: HBO Max Chespirito, Episode 2 Summary. Origins of Chespirito nickname (“Shakespearito”)

Introduction

The incredible anticipation generated by “Chespirito: Not Really On Purpose”, the new HBO Max Original series, has been overwhelming. In this first episode review (spoiler-free), I write about the character building, tone, atmosphere, and of course, the nostalgia for those of us GenX Mexicans who actually grew up watching Roberto Gómez Bolaños at least once a week. Many are searching for chespirito show 2025 or chespirito series max, and this is the production they’ve been waiting for.

Escritora mexicana Jéssica de la Portilla Montaño de niña, disfrazada de la Chilindrina de El Chavo del 8 en la década de 1980, Chespirito sin querer queriendo, Ciudad de México. Mexican writer Jéssica de la Portilla Montaño as a child, dressed as Chilindrina from The kid of number eight (the boy of number eight) in the 1980s, Chespirito not really on purpose. Mexico City.
My late grandma dressed me up as the 80s Chilindrina, ready to relive the magic with Chespirito not really on purpose!

I offer an honest review so you can decide if this drama, written by Roberto Gómez Fernández based on Chespirito’s autobiography, is for you. If you’re looking for a chespirito not really on purpose review or a chespirito review, my article aims to provide you a clear perspective from a Mexican hardcore fan.

First Impressions: Tone and Atmosphere

So I watched the very first episode, “Cobbler, Stick to Thy Last”, in Spanish. Actually I watched the HBO MAX trailer in English before switching it to the original language (Latin American Spanish… if you’ve ever heard “Spanish from Spain” dubbing, surely you’ll understand this distinction). And the English sounds pretty good! I wouldn’t mind watching the episode once again, but now dubbed in English, so I can tell you my sincere opinion. This chespirito hbo max production really makes an effort for international audiences.

From the very first minutes, “Chespirito: Not Really On Purpose” immerses us in a nostalgic atmosphere. The first episode addresses part of his childhood as one of three brothers, raised by a single mother. Or maybe it was a young widowed mother? We don’t know yet for sure (unless you google it – oh yes I did!). This initial chespirito: not really on purpose episode (season 1, episode 1) sets the stage for the entire narrative. It’s said there’ll be 8 episodes in total.

It’s worth clarifying here that the series, like most autobiographical series about Mexican artists, doesn’t aim to recount historical facts exactly as they happened. This isn’t a documentary: it’s a work of fiction (loosely?) based on real events. So, it’s not specified whether Chespirito’s father passed away or if he abandoned the family (the mother asks Roberto not to be “irresponsible, like your father”). This chespirito criticism regarding historical accuracy is something to keep in mind, as it’s a fictionalized account.

Character Building and Introduction

The Character analysis in this inaugural episode is key. The first sequence, which was used for one of MAX’s (recently re-rebranded back to HBO MAX”) promotional trailers, shows the actors from the first phase of El Chavo del 8 (“The boy from number eight” or “The kid from number eight”) preparing to work. Many are excited to see graciela chespirito hbo (a funny query I found on my Google Search Console) and other characters come to life.

I say “the first phase of El Chavo del 8” because I was born in 1979 and my generation practically watched every single Televisa and Imevisión TV shows during our childhood. I didn’t have the chance to watch the original El Chavo cast: Quico (Carlos Villagrán), Don Ramón (Ramón Valdés), the four (or more?) Patys, and La Chilindrina (María Antonieta de las Nieves) used to have long ponytails and a light green dress.

No. I watched the show later, in its second phase. La Chilindrina changed to short pigtails (once in kindergarten, as you can see in the above picture, my late grandmother dressed me up with la Chilindrina’s fake glasses and makeup freckles) and a red and green dress with a touch of yellow. Without Don Ramón and without Quico, but with characters like La Popis (Florinda Meza) with two pigtails (she originally wore ponytails with a bow).

The 1980s Televisa TV show was simply called Chespirito and included numerous sketches such as: El Chavo —The Boy / The Kid of Number Eight—, El Chapulín Colorado —The Red Grasshopper—, Los Caquitos —The Little Thieves— (Botija, El Chómpiras, La Chimoltrufia), Los Chifladitos —The Little Crazies— (Lucas Tañeda and Chaparrón Bonaparte), El Doctor Chapatín —Dr. Chapatin—, El Gordo y El Flaco —The Fat and the Skinny—, and so on.

If I recall correctly, I used to watch the TV show with my late grandmother every Friday night on channel 2, maybe before “Cachún cachún ra ra” (a famous but not so famous 80s TV show). And eventually, the show focused solely on the Los Caquitos segment and their adventures working at a hotel where La Maruja also worked (the only adult joke in the show I can recall… it took me decades to understand it, lol). This chespirito not really on purpose review aims to highlight these connections to our collective past as lots of people still use phrases in Spanish like “no hay de queso, nomás de papa”..

The character introductions were exceptional. The most accurate comment I read on social media was about the incredible resemblance between Andrea Noli and Angelines Fernández, “La bruja del 71” —The Witch of 71—. The Horacio Gómez (the famous “Godinez” from The Kid of Number Eight) character was the only actor who doesn’t really resemble to Roberto’s brother.

And regarding the actors, it was a pleasant surprise to see Macarena García in the role of young Graciela Fernández, Chespirito’s first wife. We’ll be eager to see how her story unfolds in chespirito: not really on purpose episode (season 1, episode 2) and beyond.

Plot Development and Initial Conflicts

One dumb criticism I read on Twitter / X is that the first episode is an excellent example of “self-improvement.” Well, so what? Roberto grows, just like everyone does; he starts working (like everyone), he falls in love (like everyone), and he decides to pursue his dream (like everyone a few).

The main conflict is about being an obedient son, a “useful” young man with a stable job, or being the “rebel” who abandons everything to seek the impossible: making people laugh. Not fame nor wealth: he was just looking for laughs.

The narrative is agile and dynamic, using flashbacks that keep the viewer’s attention. Also on Twitter / X, I read a criticism from someone who “didn’t understand the flashbacks,” which seems pretty ridiculous considering that every single flashback indicates the current place (Mexico City) and the year.

In this first episode, “Cobbler, Stick to thy Last” (Zapatero a tus zapatos) we go from Roberto Gómez Bolaños’ childhood in a middle-class family in Mexico City (in Mexico they’d be “lower middle-class” as they can’t afford that new household appliance called TV), to his young adulthood as a factory worker, to his arrival as a writer at an advertising agency, and the beginning of the television fame that marked millions of Mexican and Latin American childhoods, just like mine. The chespirito: not really on purpose series truly shows this journey.

Technical Aspects: Direction, Cinematography, Soundtrack

The production quality is impeccable. The costumes, the hairstyles, the ever-present tobacco cigarette. The cinematography with cheerful colors, the Mexico City’s old buildings from the 50s, the cars. And regarding the soundtrack, I’ll just mention the mambo dance!

Episode 1 Verdict (No Spoilers)

My first impression is:

I loved it.

Period.

It’s no wonder the episode is already the most viewed in the top 10 on Max. It landed as number 7, but I’m pretty sure every single episode (there’ll be 8, and I guess it’ll be 1 season and that’s it) will reach the number 1 spot. The strong chespirito hbo max performance indicates its popularity. Even if they don’t like the series, or even if they don’t like the original TV show, people are watching the HBO MAX original production.

Portada de la serie Chespirito: Sin Querer Queriendo en la aplicación de HBO Max Android. Reseña del primer capítulo sin spoilers. Cover of the series Chespirito: Sin Querer Queriendo on the HBO Max Android app. Spoiler-free review of the first episode.
The “Chespirito: Not Really On Purpose” biopic series is now available on HBO Max.

I won’t reveal any plot details, because there’s nothing more annoying than visiting Instagram just to read that your (now former) friend complains about “who didn’t get to sit on the Iron Throne” in Game of Thrones… But I will say that the Chespirito Not Really on Purpose series met my expectations. Right from the start, it pays a heartwarming tribute to our so called Mexican Shakespeare. The general chespirito review online seems to be positive for people who know what’s a flash forward and a flashback.

Is it worth watching? Absolutely.

Have you watched the first episode yet? Leave your comment below!

Share this spoiler-free review if you found it helpful.

Hashtag: #ChespiritoNotReallyOnPurpose]

Main cast

Guests: María Antonieta de las Nieves & Édgar Vivar.

Andrea Noli: Angelines Fernández

Arturo Barba: Rubén Aguirre​

Barbara López: Margarita Ruíz​ (Florinda Meza)

Eugenio Bartilotti: Édgar Vivar​

Ilian Emilio Gallea Ballesteros: Roberto Gómez Fernández

Jesusa Ochoa: Graciela Gómez

Jorge Luis Moreno: Horacio Gómez Bolaños​

Macarena García: Graciela Fernández (Joven)​

Miguel Islas: Ramón Valdés​

Nina Rubín: Marcela Gómez Fernandez

Óscar Narváez: Raúl “Chato” Padilla​

Pablo Cruz Guerrero: Roberto Gómez Bolaños​

Paola Montes de Oca: María Antonieta de las Nieves​

Paulina Dávila: Graciela Fernández​

Roberto Gómez Fernández: Francisco Gómez Linares

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