Valeria
is very aware of what series it is.
Netflix's Spanish fiction, an adaptation of the successful novels by Elisabet Benaven
t -who acts as an executive producer- sometimes plays with its viewers, who seem to want to make it clear that no one is forcing them to see it. That the series jokes with the television adaptations of
Pride and Prejudice
or that its protagonists sometimes speak in an absolutely artificial way (as in a bad dubbing of a 90s sitcom) are things that do not save it from burning, but they do they place her in
an honest and dignified position
. In their own way. In her second season
Valeria
insists on what her fans loved about the first installment and
she's not trying to re-convince those who, like me, left her fed up with posh tantrums.
This series knows what series it is and knows that this series is not good. Does Elisabet Benavent know the same about her novels? In that question I see a much more interesting series than Netflix,
a
Spanish
Adaptation
that no one will do
because how many people saw
Adaptation
and how many
Exposados
. Well that.
We also don't know how many people saw the first season of
Valeria
. The second, of course, did not seem to arouse much expectation. After taking a look at it,
the verdict is clear: more of the same
. More impossible conversations, more gallants of yesteryear, more cute feminism and more colorful. However, there is something about it that bothers me in a strange way: it
is as if
Valeria
knows that it can be a more than decent series but prefers to be bullshit.
It's the same thing I feel when I look through Elisabet Benavent's writing. Not that I believe that the author is, like Stephen King, capable of modulating her literary voice to produce
both birdseed for the masses and greater art
, but ... why not? But
Adaptation
did not reach 34 million at the box office and
Exposados
far exceeded 130. Well that.
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