The usual nostalgia: third season of The house of flowers

Here are the first impressions of the final season of this beloved novel.

Frame from the trailer for the series 'The House of Flowers: Season 3'.

The third season of 'La Casa delas Flores' premiered on April 23 on Netflix. / Photo: youtube.com/Netflix Latin America

LatinamericanPost| Juliana Rodriguez Pabón

Listen to this article

Leer en español: La nostalgia de siempre: Tercera temporada de La casa de las flores

The third and final season of the acclaimed series / soap opera The house of flowers, which made even the most snobbish laugh and cry with this new version, tribute, and parody of soap operas, is now available on Netflix. These are some of the things you should know before seeing it and our first impressions of the end for the Mora family.



Everything you should know before seeing it

We warn you before seeing it that you will find yourself in this third and last season not only with new characters but with a new cast playing your favorite characters of all time. After the series lost its protagonist and main attraction in its second season, the legendary diva Verónica Castro, who played Virginia de la Mora, the matriarch of the family, for its third season the cast doubles. You will now see a double timeline: on the one hand we will know what happens to Paula de la Mora from prison but we will also witness her conception in 1979 when Virgina de la Mora, this time played by Isabel Blurr, led a rebellious and liberated youth.

As for the drama of the present, it will revolve around three-axis, those of the three brothers de la Mora. On the one hand, Paulina de la Mora is in prison after taking responsibility for her father's crimes and those that she herself later committed. There she will meet her greatest enemy and nemesis Jenni Quetzal, who will open another narrative thread during this last season. Her sister Elena, meanwhile, is pregnant and also in a coma, which again winks at the absurdity of soap operas and that can be very funny. Around her there is also a dispute and doubt about the paternity of the son, who mirrors what Virgina de la Mora, her mother, suffers in her youth. Finally, the youngest of the three, Julián, continues to deal with the doubts of Diego, his partner, and his own.

In the drama of the past you will see Virgina de la Mora living a very different life from the one we saw her live in the first season of the series. The young Virgina maintains a love triangle with Ernesto, who, we know, will later be her husband; and with Solomon, the family psychologist. All three lead a rebellious and liberated life in which they consume drugs and have orgies. Virginia, then, becomes pregnant and will have to deal with the question of who of her two friends is the father of the daughter she is bearing, who is, of course, Paulina, the eldest of the Mora's.

Also read: Netflix and YouTube offer free content in quarantine

The same old nostalgia?

This narrative line from the past is set in 1979, so you will see what is already the Netflix formula: an 80's nostalgia full of glitter and colorful outfits. Although this aesthetic may go hand in hand with the kitsch of the previous seasons and the exploration of drag, it feels forced that the setting is now transferred to this era, it seems like a whim to take the colors of the previous seasons to another era. In its first season, above all, The house of flowers used the formulas of the soap opera to parody and honor the genre in a bright and colorful comedy, resorting to the usual formula Netflix has fallen into the cliches of those who it mocks and is no longer challenging and irreverent.

Finally, Blurr's interpretation seems to be very far from Castro's, which makes them seem like two different characters: the one we saw in the first season and the one we see in the latter. There is no connection, other than the plot, between the young Virginia de la Mora and the midwife we had seen earlier in the first season. The reader will say whether the one that continues to be the best interpretation of this series, that of Paulina de la Mora, is worth all these new setbacks.