Florinda Meza has once again taken to social media to address misconceptions regarding the recently released biographical series ‘Chespirito: Sin querer queriendo.’ The iconic Mexican actress, known for her role as “Doña Florinda,” emphasized that the portrayal of events in the series does not accurately reflect the true life of comedian Roberto Gómez Bolaños.
In her Instagram post, Meza specifically referenced the third episode of the HBO Max series, which depicts how “Chespirito” developed the beloved character ‘Chapulín Colorado.’ She stated that Bolaños conceived the idea for the character long before he began his career as an actor and that he initially pitched it to various established comedians who did not find it humorous.
Contrary to the portrayals in the series, Meza asserted that Bolaños maintained a positive and friendly relationship with the executives at Canal 8. “They allowed him to do what he wanted,” she asserted, explaining that this relationship was pivotal in giving rise to what became the iconic series ‘Chespirito.’
Meza countered the idea that Bolaños was a novice struggling to gain experience, suggesting instead that he was already a prominent figure in Mexican television on the verge of achieving international fame.
She acknowledged some aspects of the series regarding the character’s creation but expressed discontent with the negative behaviors attributed to Bolaños. For instance, she confirmed that the ‘Chapulín Justiciero’ was initially conceived in green but became red due to chroma key technicalities. The name ‘Chapulín Colorado’ originated from the color of the costume and the rhyme that concludes many children’s stories, “Colorín Colorado.”
The series portrays a collaborative effort between Bolaños and his first wife, Graciela Fernández, in developing the character’s costume. Meza recognized Fernández’s essential contribution in creating the iconic outfit and appreciated user comments on social media acknowledging this.
Moreover, she debunked the narrative involving a fictional ‘evil executive’ meant to obstruct Bolaños’ success, explaining that such conflicts were entirely fabricated for dramatic effect. To further illuminate Bolaños’ true experiences and thoughts, Meza encouraged fans to read his autobiography, ‘Sin querer queriendo, Memorias,’ highlighting specific pages where he discusses the ‘Chapulín Colorado.’
Ultimately, while Meza expresses concern over the fictional elements presented in the series, her insights help to clarify the legacy of Roberto Gómez Bolaños, celebrating his creativity and the legitimate relationships that contributed to his success. This ongoing dialogue about the series serves to invite audiences to appreciate the rich history of Mexican television.