This article explores how Peruvian sensational and spectacular media served the authoritarian discourse of Alberto Fujimori's government (1990)(1991)(1992)(1993)(1994)(1995)(1996)(1997)(1998)(1999)(2000), and how TV infotainment evolved under democracy after 2000. Through interviews with producers and hosts of the TV shows and by reviewing specific episodes and media events, this article analyses five of the most representative Peruvian infotainment TV shows of the last two decades in Peru. Building upon a theory on media spectacle, infotainment and tabloidisation, this research shows how an increasing process of media hybridity-the blending of journalism, entertainment, politics, and popular culture-has challenged traditional notions of journalism and has become a prevalent strategy of new political communication forms in Peru, connecting with the global trend towards political infotainment in the media.Keywords: infotainment, media, Peru, satire, spectacle, tabloid.This article historically interprets Peruvian infotainment TV shows since 1996, exploring how Peruvian sensational and spectacular media served the authoritarian discourse of Alberto Fujimori's government, and how this type of infotainment evolved under democracy after 2000. It shows how an increasing process of media hybridity -the blending of news, entertainment, politics and popular culture -challenged traditional journalism formats and professional values, evolving into new forms of political communication. Through interviews with producers and hosts of TV shows and by reviewing specific episodes and media events, this article examines the reality/talk show Laura en America (Laura en America), which supported Fujimori's government through propaganda, and the paparazzi show Magaly Teve, which shifted attention away from politics to celebrity culture in the national news agenda. It also describes the role of the satirical show Beto a Saber in 2000, which served an oppositional role against Fujimori during his second re-election. After Fujimori's regime collapsed in 2000, new journalistic shows appeared: La Ventana Indiscreta (The Rear Window) and El Francotirador (The Sniper) are also analysed as democracy's satirical infotainment content. In spite of the generic and formal differences among these TV shows, the cases share important characteristics: they combine entertainment with a political role and/or discourse; they establish a dialogue with journalistic conventions of non-fiction; they were at some point the most popular and/or influential shows within their respective genres; the hosts have been some of the