Tamara was the background of the junk television barrel of the two thousands. Netflix has managed to reinvent it completely

The nostalgia It has absolutely unsuspected vericuetos. Who gets out of fashion Retro video gamesthe eighty cinema franchiseseven the looks that we thought we would not see anymore It is one thing. But recover an absolutely dependent television fauna from a very specific point of our pop culture (realities absolutely outdatedthe sagas of characters that seemed fiction but were very real, the excessive and openly feast aesthetics of the beginning of the century) is something very different.

Superstar. The culmination of this return from that literally indescribable area of the two thousands has worked with the series’Superstar‘, a highly fictional chronicle of those years produced by the Javis, created by Nacho vigalo and issued by Netflix. Tamara and Margarita Sixdedos, Leonardo Dantés, Paco Porras, Tony Genil, Loly Álvarez and Arlequín make up an absolutely locked microcosm in itself and that is equally eccentric in the series.

And a concert, tip. In a line curiously parallel to the argument of the series (which, we insist, is far from being a biopic to use), this new wave of interest in tamarism has the most unexpected effect of all: A YURENA MACROCONGERthe artist previously known as Tamara, on March 23, 2026 at the Vistalegre Palace in Madrid. The event will be titled ‘Yurena: the concert that was never’ and its promoter describes it as “A unique event that rewrites the story of an artist to which television turned into a phenomenon and time, in legend. “

Reinvent the past. The main characteristic of the series is that (unlike previous incursions of the Javis in certain areas of the past, such as’Poison‘) At no time is it intended to be a reliable portrait of what happened, but each episode focuses on one of the characters involved to tell that so television that is “its truth.” To the extreme: if one of them said he had Michael Jackson eating macaroni at his house, we see him; If another said that he was kidnapped by a sect that abused him and revealed plans for the underground control of Spanish reality, we see it.

And what remains. Because the Spain of that time gives for much more: of the imitators of Chiquito de la Calzada (an indescribable phenomenon already in itself) to the guests of the program of Jesús Quintero, going through the fauna of the film of Jesús Cárdenas or the Guirigais that each night were mounted in the programs of Javier Sardá and Pepe Navarro. A true lack of control, noisy and subversive, which is portrayed and analyzed in ‘superstar’ with a very personal author, Vigalondo, where they are, on an absolutely novel plane, Tamara and David Lynch. Maybe the only honest way of seeing it.

The return. Of course, ‘superstar’ has not entered the most watched international top of Netflix, because tamarism is an absolutely Spanish phenomenon, incomprehensible beyond our borders. But it has served to unleash a new wave of tamarist claim: the concert in Vistalegre will be its culmination, although as the artist says, She has never stopped acting. Because tamarism never left, it continued in our subconscious, waiting for the time to come back.

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