In the quiet hours after midnight, Madrid buzzed with a festive air as a renowned TV moment unfolded. The spotlight fell on Alberto Chicote and Cristina Pedroche, a duo known for its bold, playful television exchanges and swift banter. Pedroche, bathed in studio light and riding the excitement of a public New Year’s celebration, noticed something unusual. One of the most striking elements of her outfit, a necklace glittering with diamonds and rubies, had disappeared from her forehead — a deliberate choice that had already become part of the spectacle. The missing jewelry wasn’t a crime scene; it was a carefully staged twist meant to keep viewers guessing as the night progressed.
“What about my necklace?” asked the Vallecano presenter to the Atresmedia technical team, just before a three-minute advertising block would follow the countdown. The moment sparked immediate chatter on social media and even stirred conversation in Pedroche’s dressing room. The timing felt almost choreographed, as if the necklace itself were a character in the broadcast, guiding the audience toward what came next rather than drawing attention to what was gone.
What followed wasn’t a real theft but a calculated promotional move tied to a high-profile television event. The moment served a Berlín campaign, a spin-off of the global hit La casa de papel. Produced in partnership with Estrella Galicia, the segment placed the Netflix universe star Pedro Alonso into a Puerta del Sol setting. In the commercial, an elevator car emerged carrying a cart loaded with ice buckets and bottles, nodding to the chilly, mysterious tone of the Berlin storyline. Pedroche’s “disappearing” necklace took on a new life as a prop within the narrative — a stylish tease that linked the live broadcast with the fictional world of the advertisement.
After the launch, the surrounding drama faded quickly into the background. Chicote and Pedroche closed the broadcast by updating viewers on the progress of the Hablando en plata initiative, tossing out light jokes and inviting audiences to watch the upcoming moments, including the final chapters of Amar es para siempre on Antena 3. The sequence ended with a shared breath of celebration, a reminder of new year beginnings rather than a lingering mystery. If the case ever existed in truth, it was resolved amid the revelry, leaving a lasting impression that a television moment can be as much about storytelling and branding as about real-world events.