Since its debut, in 2020, to the premiere of its second season a few days ago (from August 13, on Netflix), Valeria is a clear reference of the crack series. Not from the political rift, but from the marked division of waters between public and critic. Let’s say for a sector meets the three G’s of football, those of win, like and score, but for another he does not even stammer them.
Inspired by the novels of Elisabet Benavent, intends to count several things at the same time, always around a writer in crisis, supported by three iron friends, who are also going through their own crises.
Then there is a kind of generational painting about people in their 30s, a tribute to friendship, a focus on professional achievements and frustrations, a scent of a Madrid tour, and a backdrop of feminism.
It is not bad to target several fronts at the same time. In fact, this would not be the first or the last fiction that is encouraged to distribute the game so much. Only, from the beginning, this Spanish comedy did not drop anchor in any visited port, it put together like a cocktail with everything and then passed and passed by the screen like a fleeting story, narratively speaking.
Valeria and Victor in the kitchen. There are hot scenes in almost every environment.
Of rating, let’s agree, it was not bad: to such an extent that the second was immediately assembled and there is already talk of the third. The issue is when you try to figure out what exactly you want to count. And, more, in this second installment -also of eight episodes-, in which in the absence of interesting dialogues there are capricious insistence on sex scenes of its four central characters to tell everything.
This would not be a question, far from it, but suddenly Valeria (Diana Gómez), Carmen (Paula Malia), Lola (Silma López) and mine (Teresa Riott) are as obsessed, as if they were in full sexual awakening. To the point that a simple outing of friends turns into tasting ice cream in the shape of a penis or vagina, according to the tastes of each one.
The point is that the thematic recurrence in this second installment does not come as a yapa, but as a replacement: more sex, less reflective situations, dialogues, something else. As if what came to be told, more than to be counted, I would have come to cover the pothole.
Between sexual scene and sexual scene, Valeria is seen dealing with her novel and indulging in the unbridled passion that Victor (Maxi Iglesias) arouses in her, Lola seeing if she only has a “sex toy” or prefers a boyfriend, Carmen assuming that competes with her boyfriend and coworker, and Nerea, finally, celebrating that she no longer hides that she likes women.
Nerea and her new “girlfriend” having sex on the washing machine.
They all officiate as snippets of a story that in the quarantine of 2020 appeared as a good generational portrait in picturesque Madrid, but that, over time, he stayed more in the anecdote than in the story.
Comedy Protagonists: Diana Gómez, Silma López, Teresa Riott and Paula Malia Creator: Maria Lopez Castaño Director: Inma Torrente Issue: Two seasons available on Netflix.