Erick Elías
Erick Elias arrived by the least romantic route open to a telenovela lead: he won a reality show. Protagonistas de Novela, in 2003, was effectively a televised audition, and taking it turned a young actor whose resume amounted to a pair of youth series from 2000 into someone the networks would build a schedule around.
Telemundo used him first, in Second chance and as Renzo in Zorro: La espada y la rosa, and Storm Over Paradise gave him his first leading role in 2007. A decade of Televisa protagonists followed: Gabriel in En nombre del amor, the rich comic lead of Porque el Amor Manda, Marcelo in The Color of Passion. Those parts share a template, the handsome man with a moral problem, and Elias plays the moral problem better than most leads working in the format, which is the entire job.
Betty in New York handed him Armando Mendoza, a role that carries one of the longest shadows in Spanish-language television, and 100 dias para enamorarnos let him work in a lighter, more modern comic register. The recent credits lean toward straight drama: The Accident and Sisters' Feud in 2024, Between Father and Son in 2026.
Movies (3)
TV (12)
- Second chance (2005)
- Porque el Amor Manda (2012)
- The Accident (2024)
- Betty in New York (2019)
- 100 días para enamorarnos (2020)
- Between Father and Son (2026)
- En nombre del amor (2008)
- The Color of Passion (2014)
- Friends 4 Ever (2000)
- Zorro: La espada y la rosa (2007)
- Sisters' Feud (2024)
- Storm Over Paradise (2007)
Where to start with Erick Elías
Betty in New York is the efficient entry point: the story is familiar enough that you can watch what he is doing with it, and Armando Mendoza is the part that tests whether a leading man can be charming and genuinely selfish at the same time.
For the classic Televisa version of him, Porque el Amor Manda is the fullest showcase, a comedy about a spoiled boss being taken apart piece by piece. The Color of Passion is the melodrama pick, and Storm Over Paradise is where you watch the young leading man arrive. 100 días para enamorarnos suits the looser modern format well, Don't Blame the Kid is the option if you only want ninety minutes, and The Accident shows where the work is heading now, toward drama with less gloss.