Alejandra's husband is found dead in a small town outside Valencia, when he's supposed to be in Frankfurt. Alejandra pesters the police to investigate the apparent suicide and finds that her husband has been living a double life with a girlfriend. For eight years. It transpires that what the husband - Oscar - actually did for a living is very unclear, as he resigned from his day job many years previously.
So far so good. It has the good story for a thriller.
This is a Spanish relationship drama/thriller and this is the problem. It would have gained more traction if it had decided to be one or the other. The director has decided that using numerous flashbacks to portray Oscar's double life, the problem is - it slows down the episodes, and doesn't necessarily add much that couldn't have been added using standard "thriller-methods".
The developing relationship between Alejandra and Veronica, or the relationship between Alejandra and Conrado could be explored - or the thriller elements. Now things falls in between. The thriller element turns out to be your standard, crime fare, with a slight twist at the end (we've seen it before) - the Alejandra/Veronica relationship is given too little time to fully develop (we've seen better series with lesbian/bi-sexual themes before). This is a pity as the interaction between Alejandra, Veronica and her daughter Sol is electric at times. One of the last scenes where Sol (?) has changed the little star Veronica has in the windscreen from reading "Sol/Mama" to "Sol/Mamas" and Sol's last line "A dónde vamos, mamas?" is touching.
One problem with the show is the solution to the endgame is the plot Conrado comes up with, doesn't hold water (!) even if the scheme is supposed to save Alejandra and Veronica. The main problem, however, of the whole series, however, is the speed of narration. I can't avoid thinking it needs at least another editing session. Flashbacks can be interesting, but when they almost take up 50% of episode time it drags. Badly.
So far so good. It has the good story for a thriller.
This is a Spanish relationship drama/thriller and this is the problem. It would have gained more traction if it had decided to be one or the other. The director has decided that using numerous flashbacks to portray Oscar's double life, the problem is - it slows down the episodes, and doesn't necessarily add much that couldn't have been added using standard "thriller-methods".
The developing relationship between Alejandra and Veronica, or the relationship between Alejandra and Conrado could be explored - or the thriller elements. Now things falls in between. The thriller element turns out to be your standard, crime fare, with a slight twist at the end (we've seen it before) - the Alejandra/Veronica relationship is given too little time to fully develop (we've seen better series with lesbian/bi-sexual themes before). This is a pity as the interaction between Alejandra, Veronica and her daughter Sol is electric at times. One of the last scenes where Sol (?) has changed the little star Veronica has in the windscreen from reading "Sol/Mama" to "Sol/Mamas" and Sol's last line "A dónde vamos, mamas?" is touching.
One problem with the show is the solution to the endgame is the plot Conrado comes up with, doesn't hold water (!) even if the scheme is supposed to save Alejandra and Veronica. The main problem, however, of the whole series, however, is the speed of narration. I can't avoid thinking it needs at least another editing session. Flashbacks can be interesting, but when they almost take up 50% of episode time it drags. Badly.