The other day, I was trying to find a show to watch with my friend, and I stumbled upon Veneno, a Spanish biographical drama television series that premiered in 2020. It tells the story of Cristina Ortiz Rodríguez, better known as La Veneno, a transgender icon and television personality who was really big in the 90s in Spain. I’ve seen this show multiple times and love it so much that I didn’t have a problem watching the first episode again with my friend.
The show’s aesthetics are beautiful and larger than life, reflecting the upbringing of its protagonist, La Veneno. Part of the show is about La Veneno telling a life story to a writer, so from childhood to adulthood, we hear what she went through. These flashback scenes are the most iconic parts of the show and the reason being because they’re the most exaggerated parts that satisfy the queer needs and wants of its audience. There’s a scene in which La Veneno is reminiscing about going through her first communion; this scene is one of my favorites because she’s walking down the aisle of this church in front of her town, having cut up her outfit into the shape of a dress while a folk rock song is playing, altogether a different vibe than you would expect in a church. Then feathers sprout from her. You should definitely watch this scene; I love replaying it. It’s the second episode at the 28-minute mark.
At its core, Veneno explores themes of identity, acceptance, and resilience, mainly focusing on the LGBTQ+ experience in Spain during different periods. It delves into gender identity, discrimination, and the quest for self-expression and authenticity. One of Veneno’s storylines that spans throughout her different lives is the fact that her mother still sees her as her son rather than her daughter and demonizes the person that her son has become.
The show’s aesthetics and ideological content often work harmoniously, enhancing the storytelling and emotional impact. For example, the vibrant aesthetics can amplify moments of joy and celebration in the characters’ lives. However, there are also instances where these elements may work at odds. For example, the glamorous aesthetics might romanticize certain aspects of the LGBTQ+ experience, potentially glossing over the harsh realities and struggles faced by the community. There’s a montage scene in episode 3 that does a great job of showing this. Veneno is telling her experience with depression as a result of leaving home and finally being herself but missing her community, and this is contrasted by the montage being her in the same dance club through the 80s, so we have pop music and very 80s-like neon lights glitter the whole shebang.
Veneno skillfully bends genre conventions, blending drama, comedy, and documentary-style storytelling elements. This style encourages viewers to engage with the show’s portrayal of LGBTQ+ experiences, recognizing its strengths in representation and potential biases inherent in its storytelling approach, given that La Veneno is sometimes an unreliable narrator.
One reply on “Veneno: Aesthetics and Ideology”
Wow! I never heard of La Veneno before but I feel inspired to watch these shows after seeing the amazing stills you posted. On another note, I really like your note on how LGBTQ shows can often romanticize queer experiences. Whether it’s making a show more palatable for mass audience’s or “fan service” queer representation in television can often feel so shallow. In a screenwriting class, I learned the most interesting characters in stories are ones with deep flaws. I feel like queer television shows are often boring and am looking forward to more intersectional complex stories. Euphoria drew me into their story despite questionable scenes because of their complex queer characters. I wonder how queer tv shows like Veneno might be different in future decades. Will it enter the mainstream where riskier stories are common? Or will advertisers or executives continue the status quo.