Bob Pop started out as a television critic and ended up as the star of ‘Late Motiv’, Andreu Buenafuente’s program on Movistar Plus. Foul, acid, cultured and letter-wounded, Roberto Enríquez (Madrid, 1971) has become a cultural prescriber for many and an activist for the LGTBI cause. The multiple sclerosis that keeps him in a wheelchair does not prevent him from displaying incessant activity on media and social networks combining erudition and backfire. ‘Lost Maricón’, a brilliant title given to him by his friend Buenafuente, is a fiction series based on his life that has been presented in Malaga and TNT premieres on June 18 (three episodes of half an hour that day and the other three that make up the first season the following Friday). A fiction built from the truth that jumps from the dramatic to the comic, from the sordid to the bright, with the sincerity of someone who opens the channel. ‘Fagot lost’, let’s say it now, is the most important Spanish series of the year.
What was it like growing up in a town in Spain in the 70s and 80s being chubby and homosexual? In the first sequence, the protagonist immolates himself in class by appearing disguised as Evita Perón with a wedding dress to sing ‘Don’t cry for me Argentina’. This is not ‘Tell me’, there is no sweetened nostalgia. We jump back in time and we discover Roberto already in Madrid, looking for more love than sex in gay saunas and cruising in the Retiro, two scenarios that must be the first time they appear on Spanish TV. ‘Fagot lost’ tells terrible things, such as bullying and rape, but it also reserves spaces for happiness and hope. He constantly jumps in time and even has dream leaks in which the protagonist’s mother usually appears, a Candela Peña risking even parody in her composition: her hobby, to which she dragged her son, was visiting show apartments in noble areas of Madrid and stealing figurines.
All the actors are huge, especially the two boys who play the main character, Gabriel Sánchez and Carlos González. Yes Candela Peña offers a show at every appearance, Carlos Bardem shows his generosity by embodying Roberto’s father, whose face never appears in a sharp staging decision: he wants to erase his memory. Alba Flores is the friend on whose shoulder you cry and Miguel Rellán the grandfather with whom to share the key readings in the training: Truman Capote, Oscar Wilde, Belén Gopegui, José Donoso … Music is also vital in ‘Maricón perdidos’, whose soundtrack they sound David Bowie Y Caetano Veloso. The creator of the series includes these cultural references as thanks for what they have meant in his life, a beacon and a balm in bad times. That is why the very Pedro Almodovar interpreting himself.
‘Fagot lost’ narrates the search for an identity. Roberto Enríquez reinvented himself as Bob Pop and also wanted to tell a story, which is that of so many humiliated people who were saved by culture and the warmth of friends. Because being a narrator you force yourself to find a place in the world. In his case, when things started to go well, the great bitch of the disease arrived, which also has a place in the series. Few such exciting moments in Spanish fiction in recent times as the appearance of the real Bob Pop at the end of the first episode, breaking the representation of the story. The congratulations of the taxi driver who takes you shows that the road has been worth it; the protagonist has emerged unscathed from a dark age shown without an iota of complacency. Bob Pop is still a fag, but he is no longer lost.