Alberto and Laura Caballero are known for sharpening character dynamics with sharp wit, provocative humor, and a knack for provoking laughter at the folly of the powerful. They built a reputation with titles like ‘La que se avecina,’ ‘Aquí no hay quien viva,’ and ‘El pueblo,’ and now they repeat the formula with their Netflix series project centered on four lifelong friends confronting midlife crises. It’s a comedy that follows a group of four forty-somethings as they watch their grip on masculinity slip in a rapidly changing world.
In the stories, each man loses the throne of dominance and the privileges he once took for granted as an alpha. Years ago, they led in every arena—relationships, work, and daily life. Yet in an era of greater equality, they stumble under new expectations that they don’t fully understand or want to accept. They discover that the old rules no longer apply in the same way, and adapting to new norms becomes part of the plot. Raúl Tejón, who plays one of the protagonists, notes that the situation would have sounded acceptable a decade and a half ago, but not now, especially when his girlfriend (Kira Miró) makes an unexpected proposal.
The other three friends are portrayed by Fernando Gil as a TV director facing labor challenges, Gorka Otxoa as a divorced father navigating life with a young daughter (Paula Gallego), and Fele Martínez as the husband of Raquel Guerrero in the series, a local police officer whose life carries a touch of irony with a humorous “artichoke libido.” These four characters represent very different archetypes, which in turn creates a range of conflicts. Martínez describes the dynamic as a chance to show how one character shifts from winner to loser overnight and reinvents himself as someone no longer riding a streak of victories. Gil adds that the challenge is to put him in a scenario where he faces someone as formidable as a Miura in the void.
personal experiences
The Caballeros leverage humor to explore a topic as nuanced as sexism and toxic masculinity that threads through daily life. The creators acknowledge that the series crystallizes their most personal experiences, yet they keep the tone light. Comedy becomes a vehicle to lower defenses, making it easier to discuss serious issues without sermonizing. Fernando Gil stresses that the humor opens the door for reflection rather than a guilt trip.
María Hervás, who appears alongside, shares the sentiment. She argues that laughter is essential because it prevents the topic from turning into outright rejection. Distinguishing between crude posturing and genuine introspection, Hervás suggests that a joke might help even stubborn alpha types recognize behaviors they repeat in everyday life. If humor leads to even a single moment of recognition, she says, the series has achieved something meaningful.
10 episodes of 30 minutes
Reuniting with the Caballeros after the hit series ‘El pueblo,’ Hervás emphasizes that the show does more than critique established masculine roles. It also highlights the ways women, raised within the same cultural framework, occasionally shoulder similar pressures. The show succeeds because, even when characters falter, they remain relatable. They feel human, and audiences can empathize with their flaws, even as they are embarrassed by them, according to Tejón.
The presence of Hervás as a central figure echoes the creators’ prior work with cameos from familiar faces like Nathalie Seseña, Luis Merlo, and Santi Millán. The tone and pacing remain true to their style, with each of the ten episodes clocking in at around 30 minutes. The concise format serves the themes well, delivering compact stories that hit hard and linger just enough for reflection. [Attribution: Caballero brothers and collaborators discuss the show’s approach].