There was a buzz about David Broncano signing with TVE and facing a showdown with El hormiguero, but the upcoming season on access prime time promises a three-way clash. Pablo Motos, the longtime host of The Resistance, will also have a new strategic move for Telecinco in the competitive lane where Babylon Show aims to lead. The seasoned comedian, known for his catalog of impersonations, is stepping into a demanding assignment: his first show is set for Tuesday, July 23. Movistar Plus+ presents a special program titled Unique, filmed in a Madrid theater to celebrate a distinguished 25-year career. He is joined by his daughter Candela, Xavier Sardà, Boris Izaguirre, colleagues from Your Face Looks Familiar, plus Estopa and Camela. The guest list reads like a roll call of friends and collaborators, including Antonio Banderas, Pau Gasol, Rafa Nadal, Andrés Iniesta, Ferran Adrià, and even Jimmy Fallon.
He rose to prominence through his spot-on imitations. How would someone feel if they were imitated? He would welcome it. In fact, he has already experienced imitation and regards it as a wonderful compliment.
Carlos Latre shares a stage with Estopa in Unique, a program created for Movistar Plus+. The photo caption emphasizes the celebratory mood and the collaborative spirit that underpins the show.
Imitation occasionally sparks questions. Has Latre ever faced trouble because of impersonations, especially from politicians?
He says he has never encountered trouble with politicians, regardless of affiliation. Even the Royal Family has attended his performances. A balanced society, he says, should be able to laugh at itself. He notes that in the United States this kind of openness exists more naturally, while in Spain prominent figures are not often invited to participate in lighthearted television. He observes that Spanish hosts are frequently less forgiving and tend to overreact in public debates.
There is talk of a close fight for the third position in access prime time, with Latre, Broncano, and Motos all in the mix.
People describe it as a duel, but Latre disagrees. He sees room for everyone in this broadcast lane and anticipates a lively competition. He recalls how kind Motos was, expressing regret that they could not continue working together, but acknowledging that opportunities come and go. Motos encouraged him and believed Latre would achieve significant things.
Last year at around the same time, Jorge Javier could not sustain a hit with Chinese Tales. Does that create pressure for Latre? Not at all. Having spent a quarter-century in television, he has seen many shades of success. One mentor, Joan Ramon Mainat, once reminded him that television in the CIS region is rarely a top concern among Spaniards, so the focus should be on enjoying the work rather than chasing constant validation.
Did the special Latre prepared for Crónicas marcianas on Telecinco influence his signing?
It played a crucial role by proving to the producers that the team can deliver high-quality television content. A producer that can craft engaging programs demonstrates capability to sustain innovative and entertaining formats.
There is a memory of a chimpanzee in Chronicles watching the audience, a moment that turned Latre into a trending topic for two consecutive days. The most highlighted aspect from viewers was the freedom to create television and speak openly about topics without excessive withholding. That sense of openness felt incomplete, as if something essential about the spirit of dialogue in entertainment had shifted.
Would it be possible today to feature a program like Mars Chronicles that embraces complete freedom given the present filters and taboos? Latre argues that a program can indeed be produced with full creative freedom. The challenge lies in navigating a landscape saturated with prejudices and a shared reluctance to fully support the people who make television, entertainment, and humor.
What has changed, exactly?
Earlier, jokes were easier to commit without triggering accusations of offense. Over time, there has been more progress in freedom alongside self-censorship. The current climate makes everyone think twice about what they say because it may be used against them. Spain remains a country that appreciates humor, memes, bars, and quick messages, yet there is a perceived erosion of goodwill toward comedians and the broader entertainment industry.
He began his television journey at 18, stepping into the world of The Chronicles. It would not have been easy to manage such rapid fame at a young age. When reflecting on that time, he recalls a blend of reckless energy and fortunate guidance from a constellation of mentors and colleagues, including Sardà, Chicho, Mainat, Cruz, Tinet Rubira, Herrera, Julio César Iglesias, Antonio Jiménez, and Carlos Alsina. He acknowledges being both carefree and hardworking in those early days.
Is it frustrating to see The Chronicles associated with trash television? Not anymore. Looking back, he recognizes the show as a product of its time, made by talented people who believed in pushing boundaries. The program was free in its format and aimed to entertain without favoritism. Its success and flaws alike are part of television history, but those involved deserve credit for taking risks and delivering memorable moments.