When Super Catch wrestlers made appearances on morning and evening national talk shows, another kind of irony was present. Granted, Latin American talk show hosts are not known for being subtle, but the overacted excitement, fear, and horror these hosts communicated verged on the clowning Edgar was always so adamantly against.
When Super Catch wrestlers made appearances on morning and evening national talk shows, another kind of irony was present. Granted, Latin American talk show hosts are not known for being subtle, but the overacted excitement, fear, and horror these hosts communicated verged on the clowning Edgar was always so adamantly against.
In March and April of this year, Super Catch luchadores (including myself) appeared on the Univision morning program, Revista, five times. Though the show has four hosts, it was always Tony Melo who interviewed us, and sometimes even donned a luchador mask acting as a mark for the luchadores. The segment always featured a brawl between wrestlers, and often Tony would be pulled into the grappling. The peleas always ended with Super Catch luchadores ganging up on Tony, as he was flung around the sound stage and mock kicked after being thrown to the floor. He very much acted as the clown figure in these situations, flailing arms, and making exaggerated faces for the camera. He always wore a curly wig, and t-shirt that said “Soy No. 1.”
Tony Melo is on the far right with his co-anchor. Super Catch luchadores are: Super Cuate, Big Boy, Desertor,
Black Spyder, Lady Blade, Tony Montana, Gran Mortis, and Big Man
Black Spyder, Lady Blade, Tony Montana, Gran Mortis, and Big Man
In contrast, the luchadores seemed more serious. Our costumes were clearly better constructed. Our moves were more practiced and more effective in contrast to Tony’s. But much like Edgar’s worries about the cholitas luchadoras, Tony’s clownish acting gave an air of farce to the wrestling that happened on television.
No luchadores ever commented on this except to roll their eyes occasionally when Tony was mentioned in the backstage area. Nor did I have a chance to ask Tony or the program producers what their intentions were with the way they presented lucha libre. But the audience for Revista is much larger and far more varied than the in-person audiences which actually attend events. There were viewers that phoned in to win free entry to the event, often saying they hailed from working class neighborhoods like Villa Armonía in La Paz or Villa Esperanza in El Alto. But this is also a television program which professional Paceños watch as they prepare in the morning for work as managers in banks, universities, and international organizations. Thus, the fact that Tony’s acting on the program reflects the ironic appreciation of lucha libre is not surprising. Though TV interviewers always treated all the luchadores with respect, their over-acted treatment of the segments seemed to stem not only from their television personalities, but from a deeper sense of irony they were communicating to viewers.
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