A simple tour of the Commercial Registry and other documentation bases yields a simple conclusion: behind the success of Broncano There is a business machine that follows in the footsteps of the rival whom it denounces and with whom the comedian and his employees gossip, Pablo Motoswhose assets after 20 years at the top and many more years of work as a presenter and producer have turned the Valencian into a rich man.
Not long ago we exclusively previewed Broncano’s latest acquisition, a fabulous mansion near Madrid. A very expensive whim or an investment that the fashionable comedian can afford without stress.
There is something fascinating about how the wheels of modernity manage to turn a person into an industry. David Broncano, born in Galicia but originally from the Sierra de Segura, has known how to capitalize on that verb that combines the traditional and the irreverent with admirable skill. Broncano has gone from being the beardless funnyman of minority programs to becoming an emblem supported daily by TVE’s main Telediario.
But behind the apparent carelessness that exudes his public image, hides a well-oiled machinery that turns each of his occurrences into gold (or, at least, into business opportunities).
The comedian has proven to be more than a face on screen; He has become an astute businessman, capable of diversifying his investments with the same self-confidence with which he fulfills his mission of ridiculing Pablo Motos on La 1 or launching hordes of haters against his competitor on social networks, or engaging in absurd debates. with your guests. But like any figure that ephemerally borders on the mythological in the society of the spectacle, his rise is not exempt from the legitimate ambition for money.
The Broncano Revolt: the new jewel in the crown
Encofrados Encofrasa SL, the production company that Broncano created together with Jorge Ponce y Ricardo Castellarepresents a masterstroke on a board where the pawns are the large media conglomerates and classic production companies. In a move that combines cunning and chutzpah, Broncano and his partners have reserved creative control of their projects, outsourcing the technical part to El Terrat, now in the hands of Mediapro, a decision that has proven to be financially profitable.
The Revoltits recent foray into RTVE, has raised the profile of this production company, at the same time that La Resistencia continues to be the banner of its success in Movistar, where a channel maintains the old episodes. The company has not only proven to be an example of good financial management, with profits exceeding 200,000 euros in 2023, but has also diversified with other projects, such as the docuseries Medina: the celebrity scammer. This, of course, without taking into account the inevitable injection (14 million per season) of public funds that any collaboration with RTVE entails.
However, this meteoric growth raises an uncomfortable question for art and culture purists: is Broncano becoming the very thing he criticizes? While he eviscerates the miseries of showbiz and politics with mordancy, he himself seems to slide into the role of entertainment mogul, moved by business calculation as much as by the sarcasm with which he daily executes the image of Pedro Sánchez’s media enemy.
High-risk bets: startups and technology
As if he were a Renaissance monarch, Broncano has decided to diversify his domains beyond the realm of humor and television. His investments in startups and food technology show that he not only knows how to make people laugh, but also takes risks in a field where profitability is never guaranteed, as his friend Gerard Piqué knows, for example.
Among his business adventures, his participation in Heura Foods stands out, one of the most promising (and controversial) startups in Spain. The company, specializing in vegan products, has all the characteristics of a unicorn in the making: it is growing at a dizzying pace and accumulating millions in financing, but its losses are still astronomical. In 2022, Heura lost almost 20 million euros, a figure that could terrify any conventional investor, but which in the startup ecosystem is interpreted as a sign of “accelerated growth.”
This all-or-nothing betting logic also extends to Enzo Ventures, the investment fund that Broncano co-founded with twentysomethings Iván Fernández and Edgar Vicente. With 20 million euros under its belt, the fund has invested in a wide range of startups, from health technology platforms, such as Harbiz, to fintechs such as Balio, to artificial intelligence tools such as Bildia. However, almost all of them share a common denominator: they generate more losses than profits.
This reality raises a disturbing question: to what extent is Broncano playing the entrepreneur and to what extent is he betting on an economic future that may not materialize? The comedian, accustomed to living off spontaneity and improvisation, seems to transfer this philosophy to his investments, trusting that luck or intuition will lead him to success.
The comedian who became a brand
Broncano is not only a businessman; It is, above all, a brand. His irreverent style, his ability to laugh at himself as an excuse to laugh at others, and his ability to turn any conversation into a spectacle, have transformed him into an asset for the companies in which he invests. In fact, your mere participation in a startup or investment fund provides visibility and credibility, which, in the world of marketing, is equivalent to pure gold.
But this transformation into a brand has its dangers. As with large technology companies or influencers who sell their image in exchange for sponsorships, Broncano runs the risk of diluting its authenticity. What happens when a comedian starts to look more like a businessman than an artist? How does this affect his relationship with the public, who admire him precisely for his apparent lack of pretensions?
The paradox of success
It is inevitable to draw a parallel between Broncano and Pablo Motos, the presenter of El Hormiguero who so likes to parody and criticize. Both have known how to capitalize on their charisma and talent to build media empires, although their styles are diametrically opposed. Motos represents traditional television, with its family format and spectacularity. Broncano, on the other hand, symbolizes the rebellion of a new generation that rejects conventions and laughs at everything, including itself. But it turns out that Broncano is a participant in that business world.
However, the paradox is evident: Broncano is building his own empire that, in many ways, is not so different from the one Motos represents. It is to be applauded that both have learned to exploit their image and talent to generate wealth, both for themselves and for the companies around them. The difference, perhaps, lies in the tone and the story that accompanies each one: while Motos strives to please everyone and is consistent with praising those who legitimately create companies, businesses, work and wealth, behind the speech of Broncano underlies the criticism against that world. He relies on an irreverence that, paradoxically, has become his main marketing tool.
An uncertain but promising future
David Broncano is, ultimately, a perfect example of how modernity has turned talent into a product and the supposed charisma of a colleague into a currency. His investments in startups and his control over his television shows make him a case study.
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