Someone has to die, the Spanish series that only the actors save

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From the same creator of La casa de las Flores, this short Netflix fiction is sustained thanks to works such as those of Carmen Maura and Ernesto Alterio. The plot is presented as a thriller and turns into a predictable soap opera.

The kicks and cymbals of the preview are half exaggerated, now, with the series on screen. To warm up the streaming environment, there was talk of Someone has to die like the period story that was going to be encouraged to show gay love in Franco’s Spain, like the new daring of Manolo Caro, creator of The house of flowers, and like a gripping thriller. Oh, and with a cast with a dream team formation. Of all that, those who save the Netflix miniseries are the actors. And some.

Enough to make this plot, which starts with power and ends up being resolved with more impact than likelihood, a good option to smooth the rough edges of quarantine. Just a hobby with no chance for further debate.

With Carmen Maura and Ernesto Alterio as bastions of compromised interpretation, the series of three episodes it is planted as a family drama, crossed by passions, good behaviors, mandates and, fundamentally, appearances.

Here, more than the conservative motto of That it is not seen what we are, which runs in the house commanded by the matriarch who wonderfully composes the first Almodóvar girl (named this way by the Spanish press) is That we are not what is seen. Impossible. Therefore, and as the title sentences, someone has to die.

The most predictable point of this drama combined with thriller is not that it is known in advance that someone will die, but that there are not too many surprises in the fabric of ties. And the great – maybe the only one? – surprise of this production is that the famous homosexual love, which should not be spoiled here if it materializes or not, is buried by a relationship that did not sound between the drums and cymbals of the previous one.

But that, when it happens, overturns the story to the side of the most typical soap opera on evening TV.

The story aims to follow in Gabino’s footsteps (Alexander Speitzer), the Spaniard who as a child witnessed something traumatic. He went to Mexico, where he met Lázaro (the prestigious dancer Isaac hernandez), character that takes from his actor the plasticity of a body that speaks.

On his return to the motherland, Gabino does it accompanied by his friend, whom almost everyone suspects is his partner … including Gabino himself, amidst repressed desires and confusion.

While she supports the suitcases in the mansion that is alien to her, and in which the figure of her grandmother Amparo (Maura) makes every wooden slat squeak, the boy discovers that his father (Alterio) was waiting for him with an assigned girlfriend. Thus, between impositions, secrets and betrayals, the Falcón house turns into a hell. Although Lázaro, the one who arrived to -inadvertently- kick the board of Spanish high society, he manages to transform that area into a stage for seduction.

Although his thing here is more about dancing than talking, Lo de Hernández is one of the revelations of this series that you can marathon in one bite, accompanied by the change of record for Carlos Cuevas, a period boy, dressed and rigorous, who does not have an ounce of the charismatic Pol Rubio from Merlin.

There is also space for showing off Ester Exposito (the imposed bride), who rose to fame as one of the bad guys Elite. And, of course, for those who play Gabino’s mother, the Mexican actress Cecilia Suarez, which conquered a good part of the Latin market such as Paulina de The House of Flowers.

The actors are surely the ones they will rescue from the waters of oblivion to this melodrama that It has a closing more of a telenovela from the ’70s than a series of the 21st century.

Qualification: Good

Drama and thriller Protagonists: Carmen Maura, Ernesto Alterio, Cecilia Suárez, Esther Expósito, Isaac Hernández, Alejandro Speitzer and Carlos Cuevas Creator and director: Manolo Caro Issue: Three episodes on Netflix.

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