'Tamara Falcó: La Marquesa', a fairy tale that hides something else

When he began his relationship with Isabel Preysler, Mario Vargas Llosa did not know who Jimmy Choo was.

Nothing happens.

Moreover, it is quite likely that Jimmy Choo does not know who Mario Vargas Llosa is.

This confidence is one that Tamara Falcó reveals in her new

De Ella,

, released this Thursday on Netflix and produced by Komodo Studios.

Common sense dictates that the charisma of the protagonist of a program of this kind and his way of dealing with his circumstances are responsible for its success.

This is a necessary condition, but not a sufficient one.

The perfect proof that a

is much more than its protagonist is that

(Cosmopolitan), the one she starred in in 2013, was a failure and

hits all the keys to be a success.

Tamara Falcó, at a moment in the documentary series 'La marquesa'.

From that 2013 to today Tamara's circumstances have taken a turn that any clueless in geometry would say 360 degrees.

She discovered her culinary vocation thanks to her victorious passage through

in 2019;

he lost his father, Carlos Falcó, who died of covid in March 2020;

began her romantic relationship with Íñigo Onieva, her current boyfriend, and graduated from Le Cordon Bleu in 2021. But no merit should be taken away from the work they have done at Komodo Studios (producer that also gave birth to Netflix's other great success in the gender,

) with the material with which they start.

His experience goes back a long way: Juan Pablo Cofré, director of

and also director of

was executive producer of some of the best exponents of the genre such as

or

Back and now: its screenwriter Nerea Crespo has just gone through

s and

.

A team that has achieved something very difficult: looking into the eyes of a character scorned by that

who would boast of not knowing who Jimmy Choo is and flattered to the point of corniness by a certain press accustomed to living by giving soap.

More information

Tamara Falcó: "I don't know if Tangana's sensual dance is something that should be done in church"

When we talk about fairy tales, anyone thinks of a happy ending with partridges at the table, but the classic narrative structure that so many scholars have worked on, from Aristotle to Lévi-Strauss, through Propp, Campbell or Barthes, hides a hero's journey .

This is what happens in

, which not only does not hide his intentions, but also uses them to empower its protagonist.

It begins with Tamara's 40th birthday and her call to action —to open a

restaurant in the El Rincón palace, which she has inherited, along with her noble title, from her father—, continues with her obstacles —the state of the palace , the little initial faith of her mother, Isabel Preysler— while at the same time she is nurtured by her helpers—her boyfriend and her friend the designer Juan Avellaneda, among others—.

Tamara Falcó, in the kitchen with Martín Berasategui (left).

Thanks to the engine of the plot, which connects with his vocation and his personal history, characters as diverse as Carolina Herrera, Martín Berasategui or Pope Francis enter naturally, all this truffled with home videos of his childhood and exhibitions of power —not necessarily luxury— of

of this type.

And so, without realizing it, one ends up smiling when Vargas Llosa is put on top of a first edition of the English translation of

and she exclaims: “My goodness, Flaubert, your favorite!”;

identifying with the mother-child relationship between that overprotective mother that is Isabel Preysler and her, and holding back laughter at labels like "Fernando Verdasco, tennis player and brother-in-law" or at Tamara's grimaces on camera, who has every scene as controlled as possible Allow yourself the luxury of being spontaneous.

“At home we called her 'the actress.'

She was telling everything that she wasn't supposed to be telling,” Preysler explains.

Tamara Falcó, with her boyfriend, Íñigo Onieva.

And so much, Vargas Llosa and Jimmy Choo know it well.

leaves the door open to the second season – the strange thing would be if she did not have it.

Tamara seems to have her life very boringly on track, but nothing like leaving her in the hands of a good television crew to make a new story out of her.

In hers, the only thing clear is that if there are partridges, she will cook them.

You can follow EL PAÍS TELEVISIÓN on