From RBD to Reggaeton: How Karol G United Latin TV’s Greatest Icons for Musical Magic
In a move that could only be described as pure sartorial and cultural genius, Colombian reggaeton queen Karol G has orchestrated what might be the most deliciously dramatic promotional moment of 2025. The “Tusa” sensation has enlisted five legendary telenovela goddesses—AnahÃ, Itatà Cantoral, Gaby Spanic, Ninel Conde, and Azela Robinson—for a nearly two-minute Spanish-language fever dream that serves as the perfect appetizer for her highly anticipated fifth studio album, Tropicoqueta.
Drawing inspiration from the golden age of ’90s Latin soap operas, this visual masterpiece reads like a love letter to the melodramatic excess that defined an entire generation’s television diet. The fashion-forward spectacle opens with Karol and former RBD member Anahà locked in the ultimate telenovela trope: battling over the same man. The object of their affection? A gloriously maned Ricky Martin, frozen in time with his iconic ’90s locks—because nothing says peak nostalgia quite like Livin’ la Vida Loca-era Ricky.
The styling choices alone deserve their own dissertation. Each actress channels their most memorable characters with the kind of theatrical precision that would make any costume designer weep with joy. When Itatà Cantoral storms onto the scene, she delivers her legendary Soraya Montenegro line from MarÃa la del Barrio with the same venomous energy that made her television’s most beloved villain: “What are you doing? Don’t mess with my daughter, maldita lisiada!” It’s camp, it’s iconic, and it’s exactly the kind of cultural reference that sends millennials into nostalgic overdrive.
Ninel Conde provides the perfect comedic relief, breaking character to address Cantoral with millennial exhaustion: “Mamacita, you’re still doing this? It’s been so many years, please get over it!” The meta-commentary is chef’s kiss perfection—acknowledging the passage of time while celebrating these women’s enduring cultural impact.
The visual crescendo arrives when Gaby Spanic and Azela Robinson make their entrance in a cherry-red van, serving us early 2000s road trip aesthetics while previewing Tropicoqueta‘s soundscape. “The woman is iconic/ she has dreams/ she has goals,” the lyrics proclaim—a manifesto that could easily double as Karol’s personal brand statement.
Speaking of the album itself, Tropicoqueta promises to be La Bichota’s most personal project yet. Dropping June 20th, this 20-track opus represents Karol “going back to the roots, to the songs I grew up listening to, to the sounds that made me fall in love with music.” The tracklist reads like a masterclass in cross-cultural collaboration: Panamanian reggae plena legend Eddy Lover, Mexican balladeer Marco Antonio SolÃs, Colombian pop darling Greeicy, French-Spanish reggae icon Manu Chao, and returning collaborator Mariah Angeliq all make appearances.
The project’s most intriguing element? Track 13 remains mysteriously blank, though eagle-eyed fans searching “Karol G” on Google are treated to tantalizing breadcrumbs suggesting another collaboration with Feid—their first since 2021’s “FRIKI.”
In her Instagram celebration of the shoot, Karol’s genuine excitement radiates through every exclamation point: “Nothing like having the opportunity to make a dream come true!!! You touched our lives with each of your roles.” It’s this authentic joy that transforms what could have been mere nostalgia-bait into something genuinely moving—a celebration of the women who shaped Latin entertainment’s golden age, orchestrated by the artist currently defining its future.
